This is a Nicolaus Amati Copy circa 1920 violin being sold with bow and case. The case appears to be original.
Niccolo Amati was a teacher of Stradavari. Born 1596, Died 1684. His violins are considered technically perfect, and are copied much. He started with a smaller model than Stradavari. Then Niccolo worked on a "Grand Model."
Nicolo (1596-1684), son of Hieronymus, grandson of Andrea, and nephew of Antonio, is considered the greatest instrument maker of the family. His instruments are much admired for their beautiful and penetrating, though not powerful, tone. Violins, violas, cellos, several three- string bass viols, and at least one pochette by his hand are known.
$ 495.99This 3/4 sized Pfretzsefzner Violin Outfit is previously owned and is in very good VINTAGE condition. It has a couple of scratches chips along the edges. There is no major or structural issues. Includes case and bow. Actual item pictured for your review, please see photos for condition.
In 1957 in an effort to bolster their stand up bass business Gibson purchased their arch rival the Epiphone Guitar Company and moved production to Kalamazoo, Michigan. Along with the sought after bass tooling Gibson acquired access to many storied models and a brand name with a history of quality and prestige. With plans to expand retail distribution by differentiating Epiphone dealers from Gibson dealers, Gibson began production of a new line of "Kalamazoo-made and designed" Epiphones in 1959.
For over a decade from 1959 through early 1970 Epiphone solid body guitars and basses were produced in limited numbers right along side some of the greatest Gibson's of all time. These Epiphone guitars represented some of the highest quality and best sounding instruments of their generation. They provided unique shapes, pickup arrangements, and tonal signatures not seen on comparable Gibson models of the day.
The Epiphone Olympic started out looking similar to a Les Paul Special Doublecut From 1960 until 1962. In 1963, Epiphone redesigned the Olympic to match its other solid body guitars such as the Coronet and Wilshire. The original Olympic body shape became the Olympic Special with slight modification to the lower horn, which was shortened and re-angled slightly.
The Olympic, Crestwood, Coronet and Wilshire guitars are often confused with the ET-Series, which were a Japanese-made amalgamation of the older Epiphone body shapes and designs.
This is a 1965 Epiphone Olympic Special being sold in "Excellent" condition. Includes non-original case.
This guitar is all original except the rear pickup was rewound with vintage style wire by our friends at Taylor Guitars. 1963 Fender Stratocaster. Hardshell case included.
Like 1962, very little changed about the Stratocaster for the production year of 1963. Sales were still extremely strong, and the Stratocaster continued to etch out its place as the one of the world's most popular and iconic instruments. Some very minor changes seen in 1963 include a subtle shift in the shape of the pickup selector switch and a change in the location of the pickguard screw above the front two pickups. Also, by 1963 the "veneer" style of Rosewood fingerboard had become standard.
Years of Production: 1954 - present
Unique to this Year: No more date markers on body. Veneer Rosewood fingerboard becomes standard.
Body Style: Offset solidbody
Wood Composition: Alder body, Maple neck with slab or veneer Rosewood fingerboard
Design Elements: Bolt-on neck, dot inlays, 3 single-coil pickups, 3-way pickup selector
Finish Specifications: Sunburst was a standard finish for the '63 Stratocaster
Notable Players: Buddy Holly, Bob Dylan, Stevie Ray Vaughn, Jimi Hendrix
As the first production model bass guitar, the Fender Precision bass was an absolutely revolutionary instrument upon its introduction in 1951. The Precision or P Bass evolved throughout the ‘50s with changing electronics, body shape, and cosmetic details. P Basses from after the CBS Fender buyout of 1965 (which brought more of a mass-production style of construction) are of less interest to collectors than their earlier counterparts.
Years of Production: 1951 - present
This is a VINTAGE bass from 1978 that appears to be all original with the exception of the finish. This bass has been refinished with clear over the natural wood of the instrument.
Although the Fender Stratocaster MIJ is, as the name implies, made in Japan, and consequently sports a much lower price tag, many will argue that there is no significant difference between these models and the Strats made in America. Starting in the '80s, Fender began to produce guitars in Japan for import, Strats among them, complete with all of the accoutrements you'd expect on your typical Strat. Entering into Strat world with a super solid guitar is pretty easy with something like the Fender Stratocaster MIJ.
This one from 1987 is a "First Version" built in Japan featuring a Black Sparkle finish, two pivot vibrato bridge, rosewood fingerboard, American flag detail, as well as the original hardshell case. This guitar is in excellent condition considering it's 30 years old.
This is a VINTAGE Fender Heavy Metal Strat made in Japan in 1989. This guitar is a First Version. Everything appears to be all original and in "Good" condition. There are a few minor finish scratches and paint imperfections. Original hardshell case included.
The Fender HM strat was originally produced in Japan. Some sources say production started as early as 1986. Subsequently in 1989, it was produced in the United States. Some evidence indicates that assembly in the U.S. with components imported from Japan may have begun as early as 1987.
First Version - The first version appeared with a distinct Strat logo in the headstock, 24 medium jumbo frets (i.e. these are thicker and wider frets), a maple neck with rosewood or maple fingerboard and with one of the four neck "bolts" (screws) off-set at the bottom of the neck to allow a more comfortable "heel" area for playing in the upper registers, a lighter basswood body, or occasionally alder for US made guitars). The scale length is an even 25 inches (635 mm), rather than the normal 25.5 inches (648 mm) commonly used on Stratocaster and Telecaster guitars. In addition, the Fender HM Strat had a Kahler licensed double-locking tremolo system, "Spyder", and Gotoh tuners, one DiMarzio humbucking H* "Super 3" pickup ("H" configuration), and sometimes two single coil pickups (S*, HSS configuration), two humbuckers, or sometimes a single additional Super Distortion, (HH configuration) and a side mounted jack socket. Kahler USA offers a detailed schematic diagram of the Kahler Spyder tremolo and several (but not all) replacement parts are available.
Japanese-assembled guitars have colored polyester on the bodies, and clear polyester on the necks. American-assembled HM Strats have a very hard aircraft grade urethane color and clear coats on the body, while still using polyester finish on the neck.
1991 G&L ASAT Classic Leo Fender Signature is in excellent condition and perfect playing order. This ASAT features classic elements with modern design. Built with a powder coated metal pickguard. Two single coil pickups give this guitar a chimey classic feel. Classic style bridge has six individually adjustable saddles for a good setup. This great sounding guitar is one of the G&L's with Leo Fender's signature on the body, which are no longer being manufactured.
Case: This guitar includes its original hardcase along with its original paperwork
Details & Measurements: Single cutaway body shape, 12 1/2" lower bout width, 10 3/4" upper bout width, 15 1/2" body length, 1 5/8" body depth, 1 5/8" nut width, 25 1/2" scale length, weighs 8 lbs 5 oz
Materials & Construction: Ash body with a natural ash finish, 3 bolt maple neck with a rosewood fretboard, 22 frets, pearloid dot inlay, black side dots on neck near edge of fretboard, head stock adjustable truss rod, bone nut
Hardware: Satin chrome Sperzel tuning keys, white painted metal pickguard, ASAT Classic bridge with six individually adjustable saddles, knurled chrome dome knobs, chrome control plate
Electronics: Two single coil pickups, three way pickup selector, master tone and master volume
100% built in USA
Before the outbreak of the first world war , gibson dominated the market with their mandolins . Their guitars such as the L-1 and L-3 were well established , but as the big orchestral jazz bands were gaining popularity ,
gibson introduced a finer grand concert size guitar model with the same timbers and old style design like the L1 and L3 called the gibson l4 .
Unlike the gibson L1 and L3 which had 19 frets, in 1912 the l-4 featured 20 frets, 16" wide body ,oval soundholes , "the gibson" logo on the peghead , fingerboards had an end piece that surpassed the soundhole very similar to their line of mandolins ,
elevated tortoise pickguards, tailpiece with black pins , dot inlays on fingerboards , maple back and sides , mahogany necks ,
and were made in black top finishes ( sunburst finishes available during the late teens and throughout the 20s) . Round soundholes in 1928 . ( 1rst pic 1920s l4 , 2nd pic 1933 l4 )
In 1920 right after orville gibson died in 1918 , a man named Lloyd Loar joined the gibson company and changed the history of archtop guitars by designing the infamous L-5 which featured f-holes like their mandolins (no round or oval soundholes ) .
The gibson l-5 laid the foundation for all archtop acoustic guitars and jazz guitars until today . ( Considered the most significant and historical archtop acoustic guitar in the world )
Because of the l-5s' popularity , in 1935 gibson added f-holes to their gibson L-4s' and natural finishes were available during the early 40s , crown pegheads were added in 1946 and double parallelograms inlays on the fingerboards were added in 1947 . ( see 3rd pic , picture courtesy of ebay )
The gibson l-4 guitars were discontinued in 1956 , they sounded great and were considered less expensive alternative guitars for the l-5 and more prestigious models than the l-1 and l-3.
Originally making it's debut in 1946, the L48 was introduced as a Student/Intro model archtop. This guitar was hand crafted in Kalamazoo, MI alongside the highly sought after, much adorned L5, Super 400, and Les Paul models of the Golden Era of Gibson instruments.
This particular instrument is in very good condition for it's age. Plays and sounds incredible.
Introduced in 1961, the EB-3 (based on an earlier model, the EB-0)was one of the bass guitar equivalents of the popular Gibson SG. It featured a slim SG-style body, a short 30.5" scale, and two pickups (a large humbucking pickup in the neck position and a mini-humbucker pickup in the bridge position). The electronics consisted of a four-way rotary pickup selector switch (for Series 1 basses; neck pickup with midrange notch, bridge, bridge and neck with low end rolled off neck pickup, neck pickup with choke) and volume and tone knobs for each pickup. The standard finish was cherry red (like the SG guitar models), though EB-3s were also produced in other finishes such as Polaris White, Pelham Blue, Walnut, and Ebony. By the time production ceased in 1979, a total of 14167 instruments had been built
The design of the EB-3 changed several times during the 1960s. In 1962, the black plastic cover on the neck pickup was replaced by a metal one. Around 1964-5, the nickel-plated hardware was replaced by chrome-plated. Around 1966-7 the neck was replaced with a thinner one; the unadjustable bar bridge was replaced by a fully adjustable one with a nylon saddle for each string; the string guard was removed; a bridge guard was introduced and the knobs were replaced with the witch-hat design. In 1969 and 1970, the headstock was replaced with a slotted one (similar to those on most classical guitars), with tuning keys mounted at ninety degrees downwards behind the head. In the 1970s, the pickups were moved closer to the bridge, and maple instead of mahogany was used for the neck. In addition to the Gibson EB-3, a long-scale (34") model called the EB-3L was introduced for players who preferred the longer scale of most Fender basses. The EB-3 was discontinued in 1979.
Gibson currently produces a model called the SG Bass which is very similar to the EB-3, but with only a single tone control and no Varitone switch. Epiphone produces a more affordable EB-3 with a 34" scale (similar to the EB-3L), but the Varitone switch has been replaced by a simple pickup selector.
This is a VINTAGE 1970 Gibson EB-3 electric bass that is being sold in 'Excellent' condition. This instrument was stored in it's original hardshell case, under a bed since 1974 where it sat untouched. Our luthier gave it a professional set up and it's ready to go!
|Manufacturer||Gibson Guitar Corporation|
|Scale||30.5" or 34" (EB-3L)|
|Body||Mahogany, rarely walnut|
|Neck||Mahogany, maple (1973-1979), walnut (1974)|
|Pickup(s)||1 humbucker (neck), 1 mini-humbucker (bridge|
Years of Production: 1959 - 1979
Unique to this Era: Starting in late '69, Gibson used a slotted style headstock on the EB-0.
Body Style: Double cutaway solidbody
Wood Composition: Mahogany body, Mahogany neck, Rosewood fingerboard
Design Elements: Humbucker pickup, 30 1/2-inch scale length, dot inlays, slotted headstock
Finish Specifications: Cherry Red was the only standard finish offered on the EB-0 until 1971.
Notable Players: Jack Bruce, David Knights, Mike Watt
This VINTAGE 1974 Gibson L5-S Custom is one of the more spectacular vintage guitars we've seen come through our shop in a long time! It is all original, including the hardshell case. This guitar appears virtually un-played. A rare piece for the vintage collector!
Serial Number 400386
The Gibson L-5S was introduced essentially a solidbody variation of the classic L-5 hollowbody. Both models featured a single cutaway body style and multi-ply binding. The L5-S was launched with low-impedance pickups that were replaced with humbuckers in 1974. It also started out with a plate tailpiece that was later replaced with a stopbar. Its array of high-end appointments make the L5-S more collectable than the similar L6-S.
Years of Production: 1972 - 1985
Body Style: Single cutaway solidbody
Wood Composition: Maple body, five-piece Maple neck, Ebony fingerboard
Design Elements: Two humbucker pickups, block inlays, four control knobs, three-way pickup selector, black pickguard, large plate tailpiece and Tune-o-matic bridge
Finish Specifications: Cherry Sunburst was an original finish for the L5-S.
Notable Les Paul Players: Keith Richards, Jeff Lyne
This is a 1968 Kalamazoo KG1 made by Gibson in Kalamazoo, Michigan. This VINTAGE instrument is all original with the exception of the Bad Ass bridge.
Here is a little history on this particular model.
Kalamazoo was an American budget guitar brand, created by Gibson to market cheaper guitars than the fine instruments they were already making for professional musicians. This marque had been used by Gibson previously in the 1930s and 1940s, and was resurrected to cope with the massive demand for entry level guitars after the beat boom of 1964/1965. They were made in Kalamazoo, but not at the Parsons street facility (plant I), rather a newer building at 416 E. Ransom Street (plant II).
The KG guitar was a simple solid-body electric, using Gibson parts on a fibre-board body made by a manufacturer in Wisconsin. The parts used also appeared on other lower-end Gibson solid-bodies: the pickups were straight from the Gibson Melody Maker, the bridge and vibrola from the Melody Maker and the Gibson SG Special and Gibson SG Jr.
It was aimed at younger players; primary colours and surf styling - early models had a Fender Mustang shape (and were available in the same three colours of the Mustang, red, white and blue), although this changed to the SG style as the sixties wore on, and that shape became more fashionable. Despite the fibre-board body, the Kalamazoo guitars had a nice maple neck with rosewood fingerboard; bolted on (rather than set as was Gibson's norm), and the same electronic components as some more expensive Gibsons.
With Gibson quality and components, and a fair price, it is not surprising these guitars sold well; a total of 23994 KG guitars were shipped between 1965 and 1969, in three colours: Flame Red, Glacier White, Las Vegas Blue.
$ 1,200.00The Hofner 500/1 is closely associated with Paul McCartney and the Beatles. Paul's use of this bass in the early '60s propelled Hofner sales and turned the 500/1 into an absolutely iconic instrument. When German-made Hofner instruments were distributed in the United Kingdom, they were given model names to go along with their model numbers, and the 500/1 was dubbed the Violin Bass. It is also commonly referred to as the Beatles Bass. This design has been imitated by a number of other makers since including Vox and Greco.
This VINTAGE instrument from the 1970's has some significant finish cracking, but it is in otherwise great condition. New hardshell case included.
This is a Martin S1 Mahogany Soprano Ukulele dated circa 1932-36 in "very good" condition. The tuning pegs have been replaced, but all else is original.
Ukuleles were in highest production from 1916 to the 1930's, though still manufactured in quantity until 1965. Production quantities during some periods were as great as Martin guitars. Martin ukes are considered to be the best for craftsmenship and sound. The Koa wood models are more collectible than mahagony models. The fancier style 5 models are worth more than plainer styles 0 to 3. All sizes are collectible.
The first Martin ukes, built in 1916, have serial numbers ranging from one to less than 200. Ukes made after 1916 do not have serial numbers and must be dated by specification changes.
Ukes have the Martin stamp on the back of the peghead until 1935. Peghead decals do not appear in catalog photos till after WWII.
Martin Style 1 Uke specs:
Introduced in 1918, the first Martin uke model made. Discontinued in 1965.
Introduced in 1918,
First 200 or so ukes serial numbered, thereafter without.
Rosewood outer body binding with inner black/white.
12 fret rosewood fingerboard with bar frets.
Earliest examples with boxwood bridge saddle and nut.
C.F.Martin & Co. on back of headstock.
Small dot inlays.
Rosewood friction pegs.
1920: Koa wood 1K available
1927: Patent pegs
1932: Decal logo on front of headstock
1934: T frets, dark plastic binding
1942: Style 1K last listed
1965: Style 1 last listed and discontinued.
Introduced in 1965, the Martin D-35 featured a unique, 3-piece back (wings are Brazilian, center is East Indian Rosewood). Brazilian rosewood was becoming harder to acquire and the three piece backs allowed the use of smaller pieces with no noticeable tone loss. Bob Johnson, who was hired in 1962 as a computer expert, later becoming a vice president of the company, came up with the idea of a three piece back, since Martin had a surplus of 6 inch sections. After a new bracing pattern was worked out, the D-35 was born! A favorite of Elvis, the D-35 was outselling the popular D-28 model within a few years of it's release.
The Martin 1970 D-35 was one of the last Martin's to use Brazilian Rosewood, resulting in a significant price drop in all models featuring Brazilian Rosewood. Brazilian Rosewood was, and is the most highly regarded wood for back and sides and was primarily used on the early pre-war guitars that we all love. Known for rich basses and crystal clear highs, as well as it's gorgeous figuring. This particular guitar has a wonderful crisp, dry tone. Very reminiscent of a 50's D28. Lots of definition and clarity with this one! With a sitka spruce top, it still remains highly responsive, perfect for fingerstyle players, or flatpicking lead lines.
This D-35 is a vintage instrument thus having very minor dings and scratches you would expect from a 46 year old instrument along with finish checking on the front of the body and some buckle rash on the back of the body. This is a very clean VINTAGE instrument. Brand new molded Martin hardshell case included.
This is a very rare 1985, USA Ovation Custom Legend 1669 Deep Bowl Cutaway. This model is the very first Custom Legend Cutaway. It is in very good condition for an instrument 30yrs old. There are some nicks and dings in the finish and a chip on the headstock, but it is in overall "Very Good" condition.
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
Here we have a ca. 1934 Vivi-Tone Company hollow body Acoustic-Letctric guitar built in Kalamazoo, Michigan. This guitar needs a little love and a few parts to make it complete. This piece is being sold 'as is'.
In 1936, Lloyd Loar ceased to work for the Vivi-Tone Company and began a consulting relationship with Holton, for whom he began development of the Electronic Harpsichord in that year. Vivi-Tone continued operations, but moved from Kalamazoo to Detroit. During that same year, they advertised a new Acousti-Lectric bridge, much simpler in design and construction than the company's previous, built-in pickups. The unit could also be purchased separately to electrify a customer's existing acoustic instrument. While the company implied in its advertising that the bridge was patented, the claim was false, and presumably the patent application was abandoned or never submitted. This Vivi-Tone guitar is one of the latest numbered instruments currently known, a "Hi Fret Guitar" of the type developed during Loar's tenure at the company.
Inscriptions: Printed on paper label, the instrument and serial number written in pencil: VIVI-TONE Guitar / No. 663 / Manufactured under one or more of / the following patents: / 1,992,317 2,025,875 / 1,995,316 2,046,331 / 1,995,317 2,046,332 / 2,020,842 2,046,333 / 2,020,557 / Manufactured By / THE VIVI TONE COMPANY / 6321 Gratiot Detroit, Mich.
Spray painted in black ink on head, the word "Tone" vertically aligned: VIVI- / TONE
Stamp on tuner plates: GROVER
Stamp on end of tailpiece: GROVER / PAT.APPL’D FOR
Soundboard: two-piece spruce: medium grain.
Back: two-piece spruce: medium grain broadening toward the flanks; slightly arched; two f-holes; recessed 11 mm from edge of ribs.
Ribs: 6-ply maple plywood with fibrous veneer on inside and outside.
Endpin: white plastic; extends through tailpiece.
Soundholes: two holes on top; two f-holes on back.
Lacquer: dark orange-brown sunburst.
Head: mahogany with mahogany center stripe, veneered with white celluloid on front face; integral with neck.
Pegs: six nickel-plated steel, worm-gear machine tuners by Grover with convex head surfaces and decoratively cut plate outline.
Neck: mahogany with mahogany center stripe; integral with head.
Fingerboard: suspended over top; ebony bound in white celluloid; 20 nickel-silver high frets; single abalone dots behind 5th, 7th, 9th, and 15th frets; double mother-of-pearl dots behind 12th fret.
Heel cap: white celluloid.
Binding: white celluloid.