Tag Archives: Gibson

GuitarPoint Interview with Detlef Alder from GuitarPoint

November 25, 2012

| Author: Vintage & Rare

Detlef Alder talks about the challenges of being a vintage guitar dealer, the oddest vintage guitars he`s had in his shop, his favorite guitars and his advice for players looking to purchase a vintage guitar.

Hi Detlef, thank you for taking your time to speak to us. Could you please tell as a little bit about GuitarPoint? Where are you located?
We are located in the little town called Maintal near Frankfurt. I opened GuitarPoint about 10 years ago, GuitarPoint has quickly become a good address for guitar players, enthusiasts and collectors from all over the world. From the beginning we specialized in Highend-, Customshop and Vintage Guitars, from this year on we strictly deal with Vintage Guitars only!

What initially motivated you to set up a vintage music shop, and when was that?
We´ve always been dealing with vintage guitars, even though the High End & Custom Shop gear was our main business. My plan was to concentrate on the Vintage Business only, the last years before my retirement. As I decided this year not to sign any contracts with major brands anymore, it was close and the decision was easy for me to reopen GuitarPoint as a “Vintage-Only” store. We´ve already had the gear and we already had the knowledge.

What do you consider the biggest challenge for dealers of vintage music instruments today?
It is very hard to keep your Shop inventory always on a high level with instruments of excellent and mint quality. It was much easier in the past to call the distributer and order another dozen of Custom Shop instruments when you´ve sold them.
It’s also a challenge to make customers feel comfortable to buy vintage instruments.  A lot of customers would like to buy a vintage instruments, but are afraid of fakes, as they don´t have the knowledge to proof the authentic.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I´ve been playing music all of my life, I started playing clarinet in a marching band at the age of 6. Later I learned keyboard and finally I got stuck playing the guitar.

How do you choose what vintage guitars to carry?
I personally choose the vintage instruments for my store. There is a certain demand from our customers, which I have to serve, mostly for the classic Vintage Instruments such as Strats, Teles, Les Paul etc. But I’m always interested to stock some not so famous, but rare instruments nobody else carries. Sometimes if a not so desired vintage instrument is extremely clean (mint) and comes with an interesting story and complete documentation makes me buy it.

What is the oddest vintage guitar you’ve ever sold?
A ´70s Blond Rickenbacker doubleneck ? Maybe a ´60s Hofner Violinbass-doubleneck? We´ve sold a lot of odd stuff already …

Do you have any personal favorite vintage guitars in your shop? If so, why is said guitar your favorite?
Actually I´m a Les Paul guy, but the guitar for the lonely island would definitely be a Telecaster. There is a ´59 mint 6120 I could go crazy for at the moment, and that gold ´52 ES-295 I just bought as well …

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Especially nowadays it is very important to show your gear to an audience worldwide. Many people don´t mind driving far to check a nice variety of Instruments, but they need to know it´s worth it. The WWW helps bringing your showcase out to the world.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
No, not really. There is the collector, there is the skilled player, there is the “normal” family guy who just fulfills a dream he couldn´t afford when he started playing. There is also the investor as well, most of them play pretty damn good by the way!

What advice would you give to somebody looking to purchase a vintage guitar?
It’s important to buy from a well-known source. Checkout the people who are selling the guitars, if you´re not experienced in vintage guitars, definitely have some expert help you checking the instrument of desire for authentic. Our company sells all instruments with a COA and a checklist of all parts. Furthermore we include a DVD with up to 50 detailed pictures of the instrument.

Famous Vinyls Covers: Guestblog by Vinylstall.com

August 23, 2012

| Author: Vintage & Rare

Vinyl records have been popular during most of the 20th century. These recordings are played using a record player called phonograph. Vinyl recordings are once a favorite in the entertainment media. Over the years, the music industry has innovated and produced modern technology from cassette tapes to CDs and digital music players. Old types of music recorded on vinyl are now being revived with the integration of musical instruments. Audiophiles are into vinyl record collection because they love this vintage music format. Even the new generation musicians and music lovers are becoming interested in this old time disc recording.

Vinyl record enthusiasts have never ceased using and collecting this form of music medium. In fact, some artists and small label companies release their music using vinyl. DJs also play and spin these records in the clubs and bars because of the good sound quality. Vinyl has survived the innovation of technology and has influenced the music industry over the years. During the middle to the late years of the 20th century, there are a lot of famous vinyl covers that have been produced and distributed in the market. How can we forget the famous cover of the Rolling Stones, Sticky Fingers? Sgt. Pepper’s Lonely Hearts Club Band by the legendary Beatles has been considered the best cover of all times. For decades, label companies have also integrated famous instruments on their vinyl record covers.

During the vinyl record era, covers are very significant to express the theme of the artist’s songs. Some use their personal profiles and pictures or musical instruments like guitars, piano and saxophones.

Instruments featured in Vinyl Record Covers:

a. One of the most acclaimed albums during the 50’s is the Saxophone Colossus by Sonny Rollins. The award winning album was recorded and released in 1956 by Prestige Records and was considered the best albums issued by this recording company. The cover shows a man playing his saxophone in a blue background. It is a jazz album containing five tracks, three of which are Johnny Rollins’ compositions.

b. Another remarkable vinyl record cover is the album “Eric Clapton Slow hand” by Eric Clapton. This album includes lyrics of all songs and some art clips and photos. The front cover photo shows neck, turning keys and head of a guitar. A body of the guitar being strummed by a man is illustrated in the back cover. The album was produced in 1977 by Glyn Johns.

c. Jerry Lee Lewis also known as “The Killer” pioneered rock and roll music through a distinctive style in piano playing. His album “Who’s gonna play this old piano” released in 1972  contains eleven tracks including the hit songs “She’s Reachin For My Mind” and “Who’s gonna play this old piano”. The vinyl record cover shows an old grand piano with some lyric sheets on top of it.

Vinyl record covers were of great help to market and sell albums. The concept depends on the genre and the performer’s type of music. Most of the covers show profiles and pictures of the singer or bands. Covers for vinyl records also show musical instruments used by performers. Albums with famous musical instruments like guitars, pianos and saxophones are incorporated in the back or front cover of the musician’s album.

Vinyl is one of the greatest medium in the music industry. There is a need for us to protect and promote vinyl records to preserve the music of the past generation. You can find rare vinyl records for sale online, with the free vinyl search on http://www.vinylstall.com/

Gibson ES-335 Most Versatile Guitar Ever by Dan Yablonka Guitars

July 12, 2012

| Author: Vintage & Rare

There is no way to start this article without paying a great deal of due to Gibson’s President during their “Golden Era” (1950s to early to mid 1960s) Ted McCarty. The man was a visionary and helped or invented futuristic models such as the Explorer and Flying V and had his hands dirty in the development of the Les Paul and Electric Spanish or ES series semi hollow bodies. Thanks Teddy!!

The Gibson ES-335, 345 and ES 355 guitars are probably if not THE most verstaile guitar ever … certainly amongst the top. The solid maple block running through the middle of the guitar is why it is called a “semi” hollow. It allows for the sustain of a solid body with the overtones of a hollow body and the Feedback issue is solved all in one brilliant move. This solid block however would come into play as a difference later between eras which i will soon address in the article.

The ES335 was introduced in 1958 with a market price of $267.50. I know … i know … if only today … but if it makes you feel any better .. you had to pay seperately for the case!! ;-)

The very 1st releases were in sunburst or natural or what is also referred to as blond today. The early 1958s were slightly different in that they had no neck binding. Though early and unique most dealers and collectors sell or value these for slightly less than a bound model. By mid 58 this was a non issue as binding was introduced and by 1959 the model was really off and running whether 335 345 or 355. Players like BB King and Chuck Berry would help put them on the map.

Shortly after its release came the fancier models just mentioned. introduced in 1959.,…. the ES345 and 355. What set these models apart was mostly ornamentaion and the stereo option as well as a vibrola, usually a Bigsby but some sideways are seen too. The 1959 ES355 would also show off the upcoming cherry finish officially introduced in 1960 AND the fancier bound ebony fingerboard. You may have seen the early 59 ES355s and most of them were actually made from the same red anolyn die that faded out of all their other models so the 355s often took on a more reddish orange hue than its later 1960 release where they had solved the fading issue … much like in Les Pauls standards of that era. It should be noted that while stereo was a big part of these models that early ES355s were also made occasionally in mono which is a superbly collectable combo. By 1960 all 3 models were available in Cherry Red, Sunburst and Natural but natural was discontinued after 1960.

As time progressed some of the features would change and come seriously into play thus why certain eras are considered much better.

A very big one to me with ES335s was the history of the solid block. 1958-1961 “Dot Necks” (referring to their dot inlaid fingerboard) all had solid blocks through and through … but as Gibson’s production on this model would ramp up they in 1962 began cutting out the treble side of the block between pick ups allowing for a “universal” shell so that determination of model could come later in case they needed a 345 instead for example. The stereo models required a big choke and stereo splitter and this device was mounted between the pick ups so suddenly the ES335s were also cut out. This will not show from the bass side F hole but will from the treble with a light. Then earlier ones had merely a small pilot hole drilled in the block for wiring as on Dot Necks but in mid 62 you’ll see about a 1+1/2 – 2″ cut out between the pick ups TREBLE SIDE ONLY. In my opinion as a 335 owner and obsessed fan all of my adult life is that the earlier solid block had more sustain and a darker sound more like a Les Paul and the later ones a little jazzier tone. This is a very important to some … yet a little discussed turning point except between the deepest of “335 heads!”

This would be the start of a transitional era that eventually revamped many features of the model. Up to this point only minor mods like a knob change in 1960 had occurred. The changes in most cases happened in the mid 60s, These  affected many Gibsons in that way. In later 62 the PAF decals were replaced by patent number pick ups though this was mostly a formality and didn’t amount to changes made right away. Also at this time block neck markers became stock though dots were still an option. In 1963 dots were no longer offered. The next evolution would be in the mid 60s late 64 into mid 65 when the well accepted wider fingerboard would disappear ….the nickel hardware would be replaced my chrome .. the stop tailpiece was then replaced by the trapeze, “T-tops” or later humbuckers were introduced and eventually what you wound up with was still a great guitar but certainly somewhat different than the original eras.

The 60s and 70s brought players that would also give ‘cred’ to the model Eric Clapton used his 1964 on Cream’s “Badge” … one of the best and most noted guitar solos of all time. In the 70s Fusion guys would put the dot neck into the history books forever with players like Larry Carlton cutting it up on Steely Dan’s “Kid Charlemagne” and Lee Ritenour showing up on the cover of everything with his red Dot.

By the late 60s the changes were mostly the same as other models in that Norlin’s signs would show up … like the head volute … “made in USA” stamp” But all in all stayed the same until the late 70s when small additions like coil splitters were added. But there is also another point regarding the center block to be made here and that is there was also a period early in the 70s where some but not all 335s were made with a total divide in the block from bass to treble side that you actually Can see through from both side F holes … or a non solid block. This may have a good clean sound but i have played several and feedback can be an issue at high gain and volume situations.

By the nearly 1980s everyone was aware that the earlier features were the ones they wanted and much like Fender … Gibson launched into the reissue business and the reissues are a very close aesthetic version of the originals … though most would argue not on a level of the guitar’s actual playability, sonics and desirability. Which would explain why the reissues go used for about $1500-$2000 and the orignals more like $25,000- $40,000 (and more for a blond!).

I too … have payed through way too much for a blond    … but back to guitars … It is my humble opinion that the Gibson ES335 is the most versatile guitar ever. It can be used as a Rock and Roll overdrive guitar, a jazz clean guitar, BLUES guitar extrordinaire …. a country guy can use one on the treble pick up and so on.

If i had to part with all of my electric guitars and keep just one … you KNOW its going to be my 61 dot neck ES-335!!

Thanks for listening.

Dan Yablonka. Dan Yablonka Guitars.

Joe Satriani interview: ”To my fans: I owe you everything”.

March 23, 2012

| Author: Vintage & Rare

Joe Satriani is one of those guitarists who can be described in a single word – legend. Vintage & Rare is proud to present you interview with Joe, the guitarist whose music has no requirement for lyrics. He told us something about his musical beginnings, his inspiration and his plans for the future.

Could you please tell us a bit about how you got into playing music ? Do you remember any specific moments that sparked your interest in music and playing guitar?
I started playing the drums at age nine after seeing The Beatles and The Rolling Stones on TV. Then in September of 1970 I switched to guitar the day Jimi Hendrix died. He remains my main inspiration.

Which musicians or bands have been the greatest inspiration and have had the greatest influence on your understanding of music and your playing?
Besides Hendrix, I was influenced by early American blues, rock ’n’ roll, Motown, R & B, jazz and classical music. I played Black Sabbath and Led Zep in my early bands, and then some fusion. My greatest understanding of music came from my high school music theory teacher Bill Westcott. He gave me my foundation.

What advise you you give to fans wishing to perfect their playing and broaden out their understanding of music?
Practice being a musician everyday, be creative and curious and never stop learning.

How many days a year do you spend on road? Is it hard to be on a tour and still keep the mindset to create and produce music?
It seems like I’m on tour half of every year these days. Some years see me touring more, some less. The music business is always changing, you have to be able to adapt.

Can you please tell us about the guitars, amps and effects you are mainly  using, and why you have chosen the guitars & gear you have?
My main guitar now is my Ibanez JS2400. I have come to really love the 24 fret JS model now. I have put a Sustainiac pickup in a few of my 2400’s as well, they are very useful and add functionality to the guitar. My new signature Marshall JVM410H JS head is fantastic! I love playing through this new system as it really sets me free.

Do the guitars & gear you play live differ from the guitars you’re using during recording sessions?
Not really. The last two records and tours both solo and with Chickenfoot saw me with the same gear.

Maybe you could eloborate a little bit about your collaboration with Ibanez and the cool Chromeboy project?
Chromeboy was born back in 1990! It is so very hard to successfuly chrome a guitar body made of wood. We have tried everything you can think of, but it still eludes all who try. Eventually the chrome lifts away from the body, cracks and becomes dangerous. Now, the very process of chroming is being restricted due to safetey concerns for the environment as well as the people doing the chroming. So, if you’ve got an original Chromeboy, keep it safe!

Are you into vintage guitars & old amps/effects? If yes which brands/models and why? Maybe you have a special story to tell around one or more of your guitars?
I like to collect vintage Fender, Gibson and Martin guitars. Mainly Strats, Tele’s, Les Pauls and acoustics. My current favorite is a 1969 Olympic White maple-cap Stratocaster. It’s a total Hendrix-fetish collectable, and it sounds great too!

Any exciting new projects that you would like to tell us more about? Could you please eloborate more on your movie Satchurated 3D.
Having ”Satchurated 3D” playing theaters around the world is just so cool! Think about it, an instrumental rock guitar movie in theaters, what a crazy world we live in! When we release the DVD and people see the whole show and the bonus features they will freak out!

Any famous last words?
To my fans: Thank you so much for listening to me play my guitar! I owe you everything and will keep playing my best as long as I live.

www.satriani.com
www.facebook.com/joesatriani
www.youtube.com/websatch
twitter.com/#!/chickenfootjoe

Would you like to add something about Joe Satriani? Please leave a comment…

Thunder Road Guitars interview with Frank Gross from Thunder Road Guitars

January 11, 2012

| Author: Vintage & Rare

Hi Frank, thank you for taking your time to speak to us. Could you please tell as a little bit about Thunder Road Guitars? Where are you located?
Hello Vintage and Rare! Thunder Road Guitars is an online-based guitar shop by musicians for musicians. We buy, sell, trade and cosign guitars and amplifiers with folks all over the globe. We opened our doors January of 2012 and have loved every moment of it since. We are located in Seattle, Washington, USA.

What initially motivated you to set up a music store, and when was that?
I’ve worked in music shops since I was old enough to have a job and have always had a love and passion for great guitars. I have managed a well-known Seattle vintage guitar shop and have also worked for a US chain store. I learned a lot working for both companies and eventually decided to open my own store this January. My favorite thing about independent music stores is the “shop culture” – the things that happen day to day, the guitars that come in and go and the interesting folks you meet. I love it! At Thunder Road we try and give our customers that same experience online by offering great customer service and a very personal approach. I’m very hands on and if you are buying a guitar from us more than likely you will speak to me directly.

What has been the biggest challenge in setting up your shop?
The biggest challenge for me was to take this dream of mine and make it a reality. I’ve always dreamed of owning my place, but there’s a lot of risk involved when you start any new business. Like I mentioned earlier I have just opened my digital doors to the world, but so far so good.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
I’ve shipped a lot of guitars between the US and Europe in my time buying and selling instruments and I think it’s unfortunate that the “Lacey Act” has created the issues that it has. I’ve seen it scare off customers and make it harder for someone like myself or other dealers out there to share great Brazilian rosewood vintage instruments with customers around the globe. With that said, it seems that if you can provide proper documentation of your instrument and show that it was built before a certain time period then you will be fine shipping, or so I’ve heard.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I sure do. I started my first band at age eleven, before I could even really play guitar. Since then I’ve been lucky enough to play in two professional bands, put out records, tour the US for what seems like a million times, and also tour Europe. One time on tour with my band in Europe the border guards in Croatia didn’t want to let us in because we didn’t have work visas so we bribed our way in with CDs, T-shirts, and other merchandise. We ended up making it across the border and rocked a great show. I’ve had some pretty amazing experiences playing music. I am very grateful for my experiences and feel lucky for the opportunities I’ve been given through music.

What do you consider the biggest challenge for dealers of musical instruments today?
I would say the biggest challenge is also one of the greatest strengths, and that is globalization. When I first started working in this field the primary option someone would have would be to walk into a brick and mortar store to pick out a guitar. Now they have the entire world’s instrument supply at the click of a button. For us this has been a good thing because it allows us to connect with buyers worldwide, but it is also challenging because there is much more competition for sales.

How do you choose what products to carry?
I carry instruments that I like, plain and simple. I’m a big fan of American and import vintage guitars and amplifiers from the 50s, 60s, and 70s as well as modern custom shop instruments from Gibson, Fender, Martin, Gretsch, Marshall, Dr. Z, and Orange. Right now Thunder Road offers used and vintage instruments, but in the near future we will be expanding to include boutique guitars and amplifiers.

What role has technology (the internet, your website, etc.) played in the success of your business? Do you use social media channels to promote your business?
Technology is huge for us as we are an Internet based business. Without the huge role the Internet now plays in instrument sales it would have been much harder for Thunder Road to get off the ground. We use social networking as a source of promotion as well as a way to connect with our customers and keep them updated on new and exciting instruments we acquire.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
We sell guitars and amplifiers to folks all over the globe. Some touring musicians, some recording musicians, and some hobby rockers. The thing they all seem to have in common is a passion for great guitars. I love how into guitars my customers are and love talking with them about music, life, and instruments.

You are known for your dedication to providing a good customer service. What advice do you give to somebody looking to purchase an instrument from you?
Being a musician myself I would not want to carry or sell an instrument that I wouldn’t feel comfortable personally owning or playing. Being a business owner I want to give my customers the same experience I would expect from a guitar shop. We go to great lengths to get to know everyone who crosses our path, whether it is selling them something or a simple inquiry asking about a guitar. We want people to feel comfortable when they work with us and feel as though they’re getting a great guitar from a great shop.

Any famous last words?
I want to thank the fine folks at Vintage and Rare for this interview and thank you (the reader) for taking time out of your day to read about Thunder Road Guitars. Please check out our website: www.thunderroadguitars.com/

Airline H8396 – 1960s Sunburst
Gibson ES335 – 1965 Cherry Red
Gibson GA18T Explorer – 1960

Hook up with Thunder Road Guitars via their Media Channels:
http://www.facebook.com/thunderroadguitars
http://twitter.com/thunderroadgits
http://thunderroadguitars.tumblr.com/

Grinning Elk interview with Ray Mauldin from Grinning Elk

January 4, 2012

| Author: Vintage & Rare

Hi Ray, thank you for taking your time to speak to us. Could you please tell as a little bit about Grinning Elk? Where are you located?
Lee and I have been attending shows together since 2000. At the time, I owned an electronics repair service and was well- established here in my hometown. Lee walked into my office one day and as we were talking, I asked him, “What exactly do you do, Man”? He answered, “I buy and sell vintage guitars”. Well, I had always been a gear junkie, having played in various bands around Atlanta for years and I thought that his answer sounded very intriguing, so I asked if I could go to a show with him sometimes. He said, “Sure” so in October 2000, we drove out to the Arlington, Texas show and on the way back, the idea of forming a company was born. Our office is in Douglasville, Ga., which is about 20 miles West of Atlanta.

What initially motivated you to set up a music store, and when was that?
We don’t have what is referred to as a “brick and mortar” store. We are primarily a web- based business and have an appointment only office where clients can set up a time to come and visit. Our office and company was officially opened in Sept. 2006.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
Not yet. In the last year, we have been asked to send only two guitars that had Brazilian Rosewood overseas. Both were vintage Martins and we decided that rather than take a chance on them being confiscated, we would sell them here in the U.S. Thankfully, our clients understood and the guitars sold easily here.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I have been playing bass since about 1987, which was right after I got out of the Army. Lee’s been playing guitar since the late 70’s, when he was in high school. I think he even won a talent show back then, so he obviously got an earlier start than I did. He’s a much more accomplished musician than I am. He’s taller too.

The Elk Nation….James Hetfield….could you tell us a bit more about that?
That was one of the best days of my life. It was a Sunday and I was lying on my couch, watching TV.  Metallica was playing Atlanta that night and was thinking I’d get tickets down at the arena right before the show started. Lee called me up and said, “Pull out those two Flying V’s and the ’65 Strat. We might be showing them to the guys in Metallica this afternoon”. I probably said something like “Yeah, sure we are” but he insisted that I get up off my comfortable couch and get ready.  So I begrudgingly did as he asked, thinking that this was a cruel joke because you just didn’t get to go meet Metallica on a Sunday afternoon, but sure as shootin’, two hours later, we were standing at the service entrance to Phillips Arena with those guitars in hand. James’ guitar tech, Zak took us into a room where we laid the guitars out and it wasn’t long before Hetfield walked in and started checking them out. He eventually bought the white ’75 Flying V. We later showed the Strat to Kirk Hammett, but he said it was too clean and “not vibey enough”. Go figure that one out!

What do you consider the biggest challenge for dealers of musical instruments today?
I think the most difficult part of our business today is completing a deal over the telephone or by email. It’s a challenge to sell a piece to someone that is halfway around the world with only a written description or with words spoken on the phone. We want to make sure that the guitar or bass being discussed is exactly what our client is looking for and will fit his or her needs. The last thing we want is to mail a guitar across the planet only to have it come back.  We try to do all of the legwork and preparation before the guitar goes out so that when it arrives at its new home, the customer opens the case and says “wow”. That’s our goal with every transaction.

How do you choose what products to carry?
That’s another challenge in itself. We are so picky when it comes to condition and originality, the pool of instruments we will consider buying is a small one. We want them all to be as close to new as possible and completely original. Every once in a while, we’ll purchase a guitar that might have broken solder joints or a replaced nut, but it’s a rare occasion. There’s even a term that’s been coined in our industry- “Elk clean”. I hear it all the time at the shows we attend and I’d like to think that it refers to best of the best.

What is the oddest guitar you’ve ever sold?
A few years ago, at the Philadelphia Guitar Show, we bought a 1986 Kramer Triax that was virtually unplayed. It was flip- flop pink and had its original flight case and all of the tags.  Very cool and very 80’s!

Do you have any personal favorite guitars in your shop? If so, why is said guitar your favorite?
My favorite guitars are usually basses, so at the moment, it’s a Rickenbacker 4003s8. It’s an 8- string bass in Desert Gold that was made as a “color of the year” piece in 2001. There can’t be more than one or two in the world. In terms of favorite guitars, we have the first Murphy- aged Les Paul ever made at Gibson and it’s one of the most authentic looking ’59 reissues we’ve ever seen. I think Lee’s got that one stashed away somewhere so I can’t get my hands on it.

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Well, it has exposed us to the entire world. Anybody, anywhere with a little electricity, an internet connection or a smart phone can look at our inventory and buy from us. Think about it: prior to the establishment of the internet, most guitar dealers sold their gear from a store and if they did have any national or international exposure, it would have been through magazine advertisements. Now, you can place a banner on a forum and be seen by literally millions of visitors to that forum a year.  I once sold a 1967 Stratocaster to a gentleman in Belgium from my Blackberry, sitting in the parking lot of a local post office. You couldn’t do that ten years ago.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
The majority of our clients are professionals, serious collectors and higher- end musicians. They know their stuff when they call, they like what they see on our website so generally, the only thing left to discuss is price. The gear we have speaks for itself.

What advice would you give to somebody looking to purchase a guitar from you?
If you’ve never heard of us, check us out. Another important aspect of the internet is, if you consistently perform at a high level, people will say so. The various forums have become powerful mediums and people all over the world talk about their purchases, experiences, etc. If you make just one person unhappy, they will certainly say something about it somewhere. Your reputation is the most important thing your company can have. It’s everything.

Any famous last words?
Sure. It’s a Latin saying: “audentes fortuna iuvat, which means “Fortune Favors the Bold”. Or, on a lighter note, Two Elks are always better than one…

In 2010 V&R visited Arlington Guitar Show and Ray was kind enough to introduce us to some of his pieces: (The interview with Ray Mauldin starts at 1:43)

A selection of Grinning Elk pieces:
Korina Explorer R9
Gibson ES330T
Rickenbacker 660/12 Tom Petty
Gibson USA map guitar

The Jobfactory Musicstore Interview with David Max from JFM.

November 14, 2011

| Author: Vintage & Rare

The Jobfactory Music Store from Switzerland specializes in the sales and service of Electric and Acoustic Guitars, Bass`, Effect generators and Amplifiers. We had a little chat with CEO David Max about the “Best Guitar Shop in Town”.

Hi David, thank you for taking your time to talk to us. Could you please tell as a little bit about The Jobfactory Musicstore? Where are you located?
The JFM is located in Basel, Switzerland, in the Dreispitz section of town close to the borders of France and Germany. The musicstore has existed for almost 8 years. I have been a member of the team for almost 3. The store is owned by the Jobfactory AG, a company who’s core purpose is to help young people find careers paths through schooling, training and apprenticeships. We have 2 apprentices currently, both studying retail sales, as well as being aspiring musicians. The store is designed to cater towards all levels of guitar player, beginner to professional, and all tastes, from the basic to the boutique. Pawn shop to Custom Shop!

What initially led you to set up a music store, and when was that? We heard something about a girl, New York etc…could you elaborate on that?
I am originally from New York. My wife and I met there, due to circumstances revolving around Sept. 11. She was doing a Masters Degree program there. We became engaged some years later, and decided to start our family in her home town of Basel. I came without any clue as to how I could make a living. However, my experience in the music industry, as a player and a salesman, payed off and I was lucky enough to find myself with a beautiful little store to run.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
These are really two separate issues. As far as I can tell, the Lacey Act has been a very effective Environmental protection control originally designed to prevent American companies from trafficking in illegal materials. However, it seems that this law has been perverted by the US government for unknown reasons to go after Gibson, and the rumour is, other companies are next. I believe the Lacey Act itself to be a good law, however there needs to be some simple common sense amongst our government officials. And if they do not begin to go after other guitar companies, then it seems that, for some reason, someone with power has an ax to grind with Gibson.

The second question, about shipping between the US and Europe, is really a question of free markets, which I believe in, as long as they are properly controlled. Free Market Capitalism works, as long as people play by the rules. It’s the cheaters that ruin it for the rest, and cause huge economic meltdowns. But the markets are fixing the problem, and hopefully after many years to come of economic pain, better controls and support of the controls that bring the concept of currency in line with the concept of tangible value and not speculatitve value will be instituted world-wide. I think that if I can buy something cheaper in the States or in China than I can in Germany, for example, than I should be free to do so. Competition, when the rules are followed, brings out the best in people.

What do you consider the biggest challenge for dealers of music instruments today?
The biggest challenge is serving the customer well enough, and making the shopping experience satisfying enough, that he would rather pay more money for a product that he could be buying from a huge, totally impersonal corporation that can buy in bulk, at a lower price. Without the ‘Mom and Pop’ stores, the music industry, including the ‘big boxes’, will suffer greatly. The small shops remain the ‘life-blood’ of the music instrument buying public. When they go, so does the culture. Do you play music yourself? If so, what do you play, for how long have you been doing it? I have been a guitar player and singer-songwriter for over 20 years. I have recently finished my tenure as lead guitar for Psychic TV (www.myspace.com/ptv3) and released my first solo album (www.davidmaxxx.com) I am now working on the follow up with my new band, The Sons of the Void.

We have watched a video of your store and you have a great variety of instruments. How do you choose what instruments to carry?
It is a combination of the local demographic, that is what people in and around Basel are into and talking about, and what kind of bands are emerging amongst the youth, with a dose of the ‘traditional’ sensibilities of older guitarists mixed with the tastes of myself and the sales staff. No one sells anything better than the thing that they themselves are taken with.

Do you have any personal favorite vintage guitars in your shop? If so, why is said guitar your favorite?
I have a lovely Gibson ES 225T 1957. The neck and perfect fret wear make for an incredibly playable instrument that just kinda melts all over you as you play it.

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Not as much as one might think, simply because we have been mostly focusing on the local music community here, in which word of mouth means a lot more than internet presence. That being said, we have begun selling more consistenly on-line, as well as building a presence in the traditional, ebay, facebook, linkdin kinda way, and of course, the brilliant idea that is vintageandrare.com.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
I definetly see more and more young people wanting to learn guitar. It is somehow a more accepted and attainable goal than it used to be. Its more a facet of the collective consciousness and less of fable or dream.

What advice would you give to somebody looking to purchase a vintage guitar?
Take your time. Do your research, know as much as you can before spending a lot of money, and be clear about why you are buying a vintage instrument over a new one. Vintage instruments can be a burden as well as a blessing.

Any famous last words?
Money can’t buy happiness, but it sure can make being sad a whole lot easier.

Fender Guitars- The Dark Era?

November 11, 2011

| Author: Vintage & Rare

Guest blog written by Emil Puris

So I`ve been reading this blog by a guy stating that today`s Fender Stratocasters are “light years” better than any 70`s Strat he`s ever come across. The argument was supported by the fact that Fender was taken over by a company called CBS in 1965 and every Fender made between 1965 and 1985 supposedly belonged to the dark era of Fender Musical Instruments Corporation.

Doing some research on the net about the subject, as I had no historical knowledge of Fender guitars, even though I own two Fender Stratocasters myself, I found out that players perceived a loss of the initial high quality of Fender guitars after the company was taken over by CBS. As a result, the late 60`s Stratocasters with the large “CBS” headstock and (from the mid 70`s) the 3-bolt necked models (instead of the conventional 4 bolts) with the “Bullet” truss-rod and the MicroTilt adjustment system fell “out of fashion”. I literally have to get up and make myself a cup of coffee after writing this last sentence. However, the point of the above-mentioned, is that all of this supposedly led to a reduction of the quality of Fender`s guitars while under the management of “cost-cutting” CBS. When Fender was bought from CBS by Bill Schultz in 1985, manufacturing resumed its “former” high quality and Fender regained market share and brand reputation.

Furthermore, so-called “pre-CBS” Stratocasters are, accordingly, quite sought after and expensive due to the perceived difference in quality even compared with contemporary post-CBS models. In recent times, some Stratocasters manufactured from 1954 to 1958 have sold for more than US$175,000 which is perverted if you ask me, but then again everybody has their own fetishes.

I have two Fender Stratocasters, one from 1976 and the other one is from 1995, and after doing this research, I was amazed to learn that my 1995 Fender should be superior to the 1976 model according to these so-called guitar-enthusiasts and experts. Well, I have to say that my personal opinion is that my 1995 Stratocaster is a toy, which should be sold at supermarkets around the country, compared to my 1976 Fender Stratocaster. The history of Fender guitars, or any guitars for that matter, has never interested me and the only reason I did this research was because I was asked to write this blog. Personally, I don’t care about whether a guitar is made by well-recognized companies such as Fender, Gibson, Martin or a luthier from China or some monk chopping a piece of wood in the mountains of Tibet (hard to find by the way, the wood that is) who decides to open a Custom Guitar Shop, just out of boredom.

When I pick up a guitar I don`t look at a label or a serial number or what kind of wood the top, back and sides and fret board is made of. If it sounds and feels good, than that`s the right guitar for me. I`ve played guitars from the above-mentioned brands that sounded like crap and that are being sold for ridiculous prices, and I have played guitars sold for much less that sounded a lot better. For example, my $600 western Chinese-made Fina sounds better than some guitars that I`ve played in $2000-3000 category. This goes another way around, of course, but I`m just saying. The important thing to remember is that it is individual what kind of guitar suits one`s playing style and feels comfortable, and not what you read on the Internet and follow the sheep-mentality.

My purpose with this, rather short, article is not to promote 70`s Stratocasters, but to make some kind of stand against the ridiculous statements that one can find on the Internet. To end this article, I have found pictures of a few guitarists that are playing these ridiculous 30-40 years old badly-made Fender Stratocasters.

But what do these guys know, I think I`m going to start saving money for a $50,000 1957 Fender, instead of buying a “crappy” Fender from 70`s for around $4000.

Lukas Schwengeler Artist Interview

November 7, 2011

| Author: Vintage & Rare

Lukas Schwengeler is the no.1 session guitarist in Switzerland. We talked to Lukas about his guitars, amps and his taste in music.

Hi Lukas thank you for taking your time to speak to us. Could you please tell us a bit about how you got into playing music in the first place? Do you remember any specific moment that sparked your interest in music?
Since I was the youngest of 6 kids and all of them played an instrument I was elected to start up playing the violin with 6 years of age and enjoyed playing this instrument until I was 12. During that time my hippy neighbor gave me her guitar because she moved abroad. I picked up that lovely instrument and I was hooked. From that moment on I started to play and play and play. I stumbled into some old blues tunes and worked my way up.

Could you explain to us why you initially got into the genre you’ re currently playing? What musicians or bands inspired you in the beginning?
Blues and old hippie stuff was the start up. The first band I started to admire was the Spencer Davis Group. My first guitar hero was definitely Eric Clapton. Later I got into the tunes of Jimmy Hendrix, Duan Alman and Gary Moore. Today one of my favorites is Robben Ford.

Can you tell us about the gear your using, and why?
One of my favorite guitars is a custom made from Claudio Pagelli. Next in line is my 62 Fender Stratocaster Relic from the custom shop. I also have a Gibson Les Paul Slash Sig and I also use a Gibson Les Paul R6 . And sure enough I also play the standard Fender Tele. Besides that, I have a full set of acoustic guitars. The amp I mostly use is Fender Deluxe Reverb and Bogner Extasy.

Can you please tell us about your collaboration with Good Tone Pickups?
Claudio Pagelli made my guitar and we started to discuss possible pickups. He told me about a small swiss manufacturer that handwired pickups. We decided to give it a try and I got into contact with Ralf from Good Tone Pickups. He was open to all my suggestions and really created a pickup after my desires.

What kind of Good Tone Pickups do you prefer in your guitars?
I am using the customized pickup Ralf created for me. He made a Humbucker with low output in order to do coil tapping without significant loss of output . The result is amazing. This Good Tone Pickup is now selling it under the label Lukas Schwengeler Signature Pickup.

Does the gear you play live differ from the gear you’re using in the studio?
The guitars are pretty much the same. But the amps, stomp boxes and other stuff can vary. In the studio you can include some gimmicks in order to specialize the sound. On stage you need to stick to the stuff that definitely works.

Are there any special guitars, brand or a model, that fit your specific sound or genre better than others, and if so, why?
Sure. If the music requires the sound of Strat I use a Strat . If it requires Les Paul … I will use that guitar. I do have no matrix to show.

How important do you find the gear to be, in relation to the sound you’ re trying to produce?
Absolutely elementary. I only use the best gear I can find, because this is making the difference of the output.

Any famous last words?
There will be guitars in heaven.

Visit Lukas here:

http://www.lukasschwengeler.ch/

 

Guest-blog by Gavin Wilson of guitarz.blogspot.com

September 26, 2011

| Author: Vintage & Rare

Guitarz.blogspot.com was the first guitar-blog on the web. Thus, we here at Vintage & Rare.com figured that it would be a good idea to have founder and writer Gavin Wilson write a couple of guest-posts on our blog. Below is the first one:

Yamaha SG-3 from 1966

As the author of the internet’s longest running guitar blog (at guitarz.blogspot.com – started in August 2002 – seriously there were NO other guitar blogs then) I am of course a keen guitar enthusiast, even if I do tend to find myself writing about guitars more than actually playing them. Over the years I have bought and sold many guitars; I have owned well over 50 guitars over the years, and currently have a modest collection of approximately 20 instruments. Of these I have three that I would call vintage guitars. Obviously this would depend on your definition of “vintage”; such instruments need to be of a certain age, but also there should be an element of desirability.
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