Tag Archives: vintage and rare

Nick Hopkin Drums Interview with owner Nick Hopkin

August 29, 2012

| Author: Vintage & Rare

Nick Hopkin, funder of Nick Hopkin Drums took the time to answer our questions. After several years touring in Europe as a drummer, Nick started Nick Hopkin Drums… from a hobbie to a full time job, he tells us the story of his company.

Could you please tell us about Nick Hopkin Drums? Where are you located?
I’m an independent drum shop specialising in classic and vintage drums. Located in Wales, UK, I ship worldwide with customers in USA, Canada, Australia and Europe so far. I sell Full kits, snare drums, stands, pedals, cymbals, spares… you name it really.  1940’s-1980’s.American – Ludwig, Slingerland, Gretsch, Rogers; English – Premier, Beverley, Ajax, Olympic; European – Trixon, Sonor ASBA, and lots more. I at least clean all the drums that come through my shop. Some need a complete refurbishment. Original fittings and parts are replaced as required. I also sell Remo drum heads including pre-international sized for pre-1968 premier drums.

What initially motivated you to set up an online drum shop, and when was that?
I started restoring a 1960’s Premier set in red glitter some years ago and began attending drum fairs and reading lots of books and articles online about vintage drums.  I soon outgrew my garage and needed a workshop; I outgrew that within 3 months and so opened a shop! Its something I’ve always wanted to do, and it all just kind of happened. People heard what I was doing and got behind me; other dealers offered me spare parts and advice and it quickly grew into a fully fledged business. Its still very early days and I have lots of ideas and plans, but small steps at the moment.

Are you a musician yourself? If so, when did you start to play, what styles/genres. Are you still active in bands and other projects?
As a child i always banged pots and pans. I have memories of drumming along to The Dave Clark Five’s ‘Bits n pieces’ on  tupperware tubs, filled with a few marbles and covered with greaseproof paper and sellotape… the heads never lasted long! I played snare drum in primary school and progressed to lead drummer in the Boys Brigade marching band  aged 12 and then onto my first kit, a 1960′s Premier in red sparkle with a matching Royal Ace snare. It won my heart and I still have it now. I spent my teens and twenties playing in numerous bands – pop, funk, jazz, metal – playing thousands of gigs across the UK and Europe. I stopped playing in bands 10 years ago, and until about a year ago have been recording and producing my own music and releasing it online. I sometimes play in my local church on a Sunday and take along the latest kit to come in!

What do you consider the biggest challenge for drum dealers today?
Quality. So many vintage kits appear on auction sites, but they’ve been adapted over the years with newer parts;they often have extra holes or the original wrap has been painted or removed. Its hard to pick up classic drums that are both original and in good, playable condition.

How do you choose what products to carry?
The market is open to all brands – some people prefer American, some English, some European; some buy only from a particular era, so I try and buy across the board. I try to stock the classic English and American snare drums and good quality drum kits. As a rule, I stock drums that are in good condition structurally; wrap and chrome can be cleaned and polished to look new again, but drum shells with too many extra holes or structural damage are a no. Occasionally I re-wrap the drums.

What is the coolest drum set you’ve ever sold? A great story to share?
I recently sold an early 70’s Hayman Vibrasonic set to legendary British drummer Steve White (Style Council, Paul Weller, Oasis, etc). I’ve just acquired a Premier Projector kit in a custom black glitter (22,10,12,13,14,16) which was made for Nigel Glockler of Heavy Rock band Saxon, in near mint condition. A great story?  A lady in America bought a 10” Ludwig tom in champagne sparkle for her husband last month as a birthday surprise…he’d been looking for one for 3 years! I wish I’d been there to see the look on his face.

Do you have any personal favorite drums in your shop? If so, why is said drum your favorite?
I fall in love with pretty much every drum I buy, but have to let them go (most of the time!). I adore a 70’s Slingerland ‘Buddy Rich’ wooden snare drum with TDr strainer; Kit wise I’m currently torn between the 70’s Ludwig Super Classic in 24,13,16 and the 60’s Gretsch round badge in 22,13,16…both kits go out as studio hires, so I have the chance to play them at lunchtimes! The 70s niles badge COB snare drums are pretty nice too!

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
It has been invaluable. Presently, 90% of my sales are done online. I realised a full e-commerce website which offered worldwide shipping was important from the beginning, if my business was going to be successful. I’ve been fortunate enough to be featured on popular drumming websites and on specialist sites such as Vintage & Rare; along with sites such as facebook, twitter and linkedin, I’ve been able to develop a positive online presence for my business. The many drumming forums have enabled me to connect and communicate with the worlwide drumming community.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
No, it’s right across the spectrum from beginners to professionals. I try to educate young players and show them that they can by a vintage kit that looks and sounds stunning, often for less than a mid range modern kit. Vintage English drum kits are very affordable at the moment, and with quality shells and die cast hoops, they sound great!

What advice would you give to somebody looking to purchase a drumkit from you?
Decide on what drum sizes you prefer and what your budget is, and take it from there. I recently read an interview with a famous drummer who said that all the classic kits were 20 or 22” bass drum with 13” tom and 16” floor tom; this wasn’t a mistake! Tonally, those sizes complement each other. Despite the modern trend to add smaller toms and larger floor toms, I think the 4 piece set up will always remain a best seller.

How do you see the international vintage drum market today?
Its very exciting, as I constantly come across kits and snares that have been stored for 40 plus years and are in great condition. Thanks to the internet and specialist sites such as Vintage & Rare and my own website, vintage drum kits are easier for customers to buy.

Are your drums especially common among musicians playing a certain genre or style?
I think that a classic drum kit will sound good within any style or genre of music. Head choice, drum sizes and tuning play the key roles in adapting to different styles. Taking Gretsch as an example, vintage Gretsch drums can be heard on most of the great jazz recordings, all The Rolling Stones’ records (Charlie Watts), and on the new Feeder and Take That records (Karl Brazil). Unlike guitars and amplifiers which have distinct sounds associated with particular genres and eras of music, I think the sound of a vintage drum kit is timeless.

Any famous last words?
Don’t you just love the smell of a vintage drum when you first take the head off….

Website – www.nickhopkindrums.com
Facebook – https://www.facebook.com/nickhopkindrums
Twitter – https://twitter.com/NickHopkinDrums
LinkedIn – uk.linkedin.com/in/nickhopkindrums

Guest blog: 1971 Gibson SG Inspires Both Online and Off

August 24, 2012

| Author: Vintage & Rare

Have you heard of Figment?

It’s an online game where users can create their own, non-existing bands with whole albums with track lists, album covers, and long descriptions of how this band would sound – if it was real! The most creative and interesting bands and albums get the most fans and attention, and are rewarded with ‘lucres’, the Figment game money users can buy stuff with.

On Figment, it’s “All bands, no music“.

Figment decided to give their users a challenge and promised a bucket full of lucres for the winner:

“We’ve noticed that many of our players are musicians in real life.  We’ve also noticed that many of you are great writers, who can easily and concisely write about your love of music, real and fake.  So for our first Figment Challenge we’re looking for one player who owns a vintage instrument and is willing to write about why they love that instrument, and how playing it has inspired the bands they create on Figment.”

The winner of the challenge is formerwageslave aka Remy Brecht.  He owns this 1971 Gibson SG:

Here is the article he won the challenge with:

’71 Gibson SG Inspires Both Online and Off
by Remy Brecht

I am the proud owner of a Gibson SG 200/250 from around ’71-’72. I bought it for $180 down in Memphis, TN from a FedEx employee sometime in the late 90′s, though I wish I had thought to ask him more about the instrument’s history at the time. He either didn’t realize what he had or didn’t fully appreciate its well-worn appearance, and had it “restored” at some point in the form of drowning it in a thick coat of shiny white paint. Nevertheless, it still has its rubber knobs and plastic switches, its “Les Paul Custom” tag on the headstock, its single coil pickups hidden by black plastic covers with “Gibson” in raised cursive lettering. The latter is perhaps my favorite detail about the guitar. Since then, this SG has been my main axe through countless projects and cities, from alternative rock cover bands in Memphis to industrial rock in Indiana, from feedback noise experiments in Las Vegas to digital hardcore punk in Detroit. My blood has soaked into the fretboard on numerous occasions, and there are plenty of new dents in its weathered but still rock-solid body.

Sadly, however, I don’t always have time to sit down and record ideas for songs… or entirely new bands, for that matter. When I discovered Figment ( http://www.figment.cc ), the immersive online game dedicated to creating painstakingly realistic fake bands, I knew I had found the perfect outlet for my excess creativity. On Figment, users can create the bands of their dreams, writing their back stories and member bios, designing their logos, and creating albums complete with cover art, track lists, credits, and descriptions. Other Figment users then “buy” and “listen” to these non-existent albums to increase their position on the Hot Albums chart. There are also frequent challenges with real prizes and famous music industry judges, including concept album and album cover design contests.

One of my main bands on Figment is the mythical stoner/doom group Vorpal Queen. My vintage SG is a constant source of inspiration when coming up with songs and albums for VQ, especially since one of their main influences is Black Sabbath. Tony Iommi has his own line of SGs that bear his name, and owning an instrument from that same family of guitars (and one that dates back to the days of such classic Sabbath records as Paranoid and Masters of Reality!) helps me channel those heady, haze-filled days of nascent heavy metal. Considering the SG’s narrow neck with strings set hand-crampingly close together, the heavy chunk of maple that is its body, I have a deeper appreciation for players such as Iommi who were able to play them back then with such speed and finesse– not an easy task compared to the lighter, faster guitars available today. The SG’s weight, the way each note rings through the entire body… these things stick in my mind when imagining new chapters of dark sludge for The Queen!

Figment bands of mine:

Vorpal Queen - http://www.figment.cc/bands/2528/vorpal-queen.fig
Lucifer and the Long Pigs - http://www.figment.cc/bands/2491/lucifer-and-the-long-pigs.fig

Real bands of mine:
The Restless Shades - http://www.facebook.com/therestlessshades
Phallus Uber Alles - http://www.facebook.com/phallusuberalles

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/

How much is my musical instrument worth?

August 18, 2012

| Author: Vintage & Rare

Do you have an instrument that you would like to have an appraisal for? You’ve come to the right place.

Vintage & Rare.com now offers the opportunity to get a professional appraisal for your instruments.
We will provide you with a Certificate of Authenticity which represents a valuable document about the actual value, date and origins of your instrument. Remember your musical instrument might be a precious investment.

Vintage & Rare is the premier site in regards to trading of vintage and custom instruments in the world, we are proud to
offer this service to everyone who needs it.

We offer the following services:
-  40 € for appraisal from pictures: send an email to nicolai@vintageandrare.com attaching up to 5 pictures, detailed
description of changes and repairs and payment information. We will send you via email a pdf document as well as a phisical copy via regular postal service.

- Detailed appraisals from photos: The fee may be higher for appraisals that recquire 10 or more pictures.
Please contact Nicolai Schneekloth at +45/22720077  to discuss it.

- We can also provide a thorough appraisal including an hands-on examination of all the components of your instruments.
The fee is 180 €. Call +45/22720077 or email to book an appointment.

If you’re selling or buying an instrument don’t hesitate to contact us and let us help you get the best deal.

Claim your business page on Vintage & Rare

August 10, 2012

| Author: Vintage & Rare

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♦ monitor views of your business page on Vintage & Rare
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100,000 visits every month  of people looking for the best musical instruments
Help them find your business

How to date vintage fender amps

June 13, 2012

| Author: Vintage & Rare

Dating Fender Amps

1951-1967 – Tube chart on the inside of the amp is stamped with two letters (A – Q):

The first letter designates the year and the second letter designates the month.

A 1951 JAN
B 1952 FEB
C 1953 MAR
D 1954 APR
E 1955 MAY
F 1956 JUN
G 1957 JUL
H 1958 AUG
I 1959 SEP
J 1960 OCT
K 1961 NOV
L 1962 DEC
M 1963
N 1964
O 1965
P 1966
Q 1967

Mid ’70s – early ’80s – Amplifiers are dated much the same way as Fender guitars from the same era:

B + 5 digits 1975 – 1976
A6 + 5 digits 1976
A7 + 5 digits 1977
A8 + 5 digits 1978
A9 + 5 digits 1979
F0 + 5 digits 1980
F1 + 5 digits 1981
F2 + 5 digits 1982 – 1983
F3 + 5 digits 1983 – 1984
F4 + 5 digits 1984 – 1985
F9 + 5 digits 1979 – 1980

Dating Contemporary Fender Amplifiers

All Fender amplifiers manufactured from 1990 – present include a date code printed on the quality assurance (QA) sticker on the back of the amp chassis, and are dated the by the first letter as the year and the second letter as the month.

A 1990 JAN
B 1991 FEB
C 1992 MAR
D 1993 APR
E 1994 MAY
F 1995 JUN
G 1996 JUL
H 1997 AUG
I 1998 SEP
J 1999 OCT
K 2000 NOV
L 2001 DEC
M 2002
N 2003
O 2004
P 2005

ALL other Fender Amplifiers can be dated by the components inside:

In almost every Fender amplifier there are several EIA (manufacturer) codes followed by a date code, typically found on the speaker(s), transformer(s), tubes, caps, and occasionally pots. The EIA code will consist of 3 numbers followed by a date code of 3 or 4 numbers designating the year and the week. To give an example, a typical Oxford speaker from the ’60s will look something like: 465-217. 465 designating the Oxford EIA code, 2 designating the year 1962, and 17 designating the 17th week of ’62. Take a look at this ’62 Fender Princeton Amp, and you’ll see that exact speaker, as well as the typical Schumacher transformers (EIA 606) used in Fender amplifiers.

Serial Number ranges from amplifiers made between the late ’40s – late ’70s:

Bandmaster 5C7, 5D7 (tweed)
0001 to 0800 – 1953
5000 to 5500 – 1954

Bandmaster 5E7 (tweed)
S00001 to S00350 – 1955
S00350 to S01200 – 1956
S01100 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Bandmaster 5G7, 6G7 (brown)
00001 to 0100 -1960

Bandmaster 6G7, 6G7-A (blonde)
00001 to 02400 –  1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Bandmaster AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A17000 – 1965
A16000 to A22000 – 1966
A20000 to A27000 – 1967

Bandmaster AB763, AC568 (silverface)
A26000 to A29000 – 1967
A28000 to A34000 – 1968
A33000 to A34000 – 1969
A34000 to A45000 – 1970-72

Bandmaster Reverb AA768, AA1069, AA270, TFL5005 (silverface)
A31000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976

Bassman 5B6 (tweed)
0001 to 0300 – 1951
0300 to 0400 – 1952
0400 to 0600 – 1953

Bassman 5D6, 5D6-A (tweed)
0600 to 0900 – 1954

Bassman 5E6, 5E6-A (tweed)
0100 to 0200 – 1955
BM00001 to BM00550 – 1955
BM00550 to BM01200 – 1956
BM01200 to BM01600 – 1957

Bassman 5F6, 5F6-A (tweed)
BM00001 to BM00400 – 1957
BM00400 to BM01500 – 1958
BM01500 to BM03100 – 1959
BM03100 to BM04600 – 1960

Bassman 6G6, 6G6-A, 6G6-B (blonde)
BP00100 to BP01100 – 1961
BP01100 to BP05000 – 1962
BP05000 to BP08400 – 1963
BP08400 to BP12000 – 1964

Bassman AA864, AA165, AB165 (blackface)
A00100 to A03800 – 1964
A03800 to A15000 – 1965
A15000 to A25000 – 1966
A24000 to A33000 – 1967

Bassman AB165, AC568, AA270, AA371 (silverface)
A32000 to A40000 – 1967
A39000 to A49000 – 1968
A48000 to A58000 – 1969
A58000 to A60000 – 1970

Bronco AB764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975

Champion 800 (tweed)
01 to 1000 – 1948-49

Champion 600 5B1 (tweed)
01 to 1300 – 1948-49
1300 to 1700 – 1950
1700 to 5000 – 1951-52
5000 to 5500 – 1953

Champ 5C1, 5D1 (tweed)
5500 to 6600 – 1953
6600 to 8000 – 1954
8000 to 9999 – 1955

Champ 5E1, 5F1 (tweed)
C00001 to C00800 – 1955
C00800 to C03100 – 1956
C03100 to C06000 – 1957
C06000 to C08800 – 1958
C08800 to C12500 – 1959
C12500 to C15500 – 1960
C15500 to C16800 – 1961
C17000 to C19000 – 1962
C19000 to C21000 – 1963
C21000 to C23000 – 1964

Champ AA764 (blackface)
A00100 to A02000 – 1964
A01900 to A05200 – 1965
A05200 to A12000 – 1966
A12000 to A12200 – 1967

Champ AA764 (silverface)
A12200 to A13900 – 1968
A13900 to A18000 – 1969
A18000 to A30500 – 1970
A30500 to A32000 – 1971
A32000 to A35000 – 1972
A32000 to A42000 – 1973
A42000 to A50000 – 1974
A50000 to A63000 – 1975
A63000 to A85000 – 1976

Concert 5G12, 6G12, 6G12-A (brown)
00001 to 02400 –  1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Concert AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A08800 – 1965

Model 26 Deluxe (woodie)
100 to 1500 – 1946-48

Deluxe 5A3, 5B3 (tweed)
001 to 800 – 1948
800 to 1900 – 1949
1900 to 3000 – 1950
3000 to 5400 – 1951
5400 to 6800 – 1952
6800 to 7300 – 1953

Deluxe 5C3, 5D3 (tweed)
0001 to 1500 – 1953
1500 to 3600 – 1954
3600 to 5300 – 1955

Deluxe 5E3 (tweed)
D00001 to D01400 – 1955
D01400 to D03000 – 1956
D03000 to D05000 – 1957
D05000 to D06800 – 1958
D06800 to D09000 – 1959
D09000 to D10000 – 1960
D10000 to D11000 – 1961

Deluxe 6G3, 6G3-A (brown)
D00100 to D00900 – 1961
D00800 to D03800 – 1962
D03800 to D04900 – 1963

Deluxe AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A02800 – 1964
A02800 to A05600 – 1965
A05600 to A06100 – 1966
A06100 to A06500 – 1967

Deluxe Reverb AA763, AB763 (blackface)
A00100 to A00300 – 1963
A00300 to A03900 – 1964
A03900 to A13000 – 1965
A12000 to A19000 – 1966
A19000 to A24000 – 1967

Deluxe Reverb AB763, AB868 (silverface)
A24000 to A26000 – 1967
A26000 to A28500 – 1968
A28500 to A33000 – 1969
A31000 to A33000 – 1970
A33000 to A34500 – 1971
A34500 to A37000 – 1972
A37000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A43000 – 1975
A43000 to A45000 – 1976

Dual Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967

Dual Showman AB763, AC568 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968

Dual Showman Reverb AA768, AA769, AA270, TFL5000 (silverface)
A13900 to A16500 – 1968
A16500 to A22400 – 1969
A21700 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Harvard 5F10 (tweed)
H00100 to H00500 – 1956
H00500 to H01400 – 1957
H01400 to H02000 – 1958
H02000 to H02600 – 1959
H02600 to H03400 – 1960
H03400 to H03500 – 1961

Musicmaster Bass CFA-7010 (silverface)
A00100 to A04100 – 1972
A04100 to A07900 – 1973
A07900 to A09500 – 1974
A09500 to A09800 – 1975
A09800 to A10500 – 1976

Princeton 5B2, 5C2, 5D2 (tweed)
2500 to 3600 – 1953
3600 to 4400 – 1954
4400 to 4700 – 1955

Princeton 5F2, 5F2-A (tweed)
P0001 to P00350 – 1955
P0001 to P01100 – 1956
P01100 to P02400 – 1957
P02400 to P03000 – 1958
P03000 to P04300 – 1959
P04300 to P07000 – 1960

Princeton 6G2, 6G2-A (brown)
P00100 to P01000 – 1961
P01000 to P05100 – 1962
P05100 to P07200 – 1963
P07100 to P09900 – 1964

Princeton AA964 (blackface)
A00100 to A02500 – 1964
A02500 to A07000 – 1965
A05000 to A10400 – 1966

Princeton AA964 (silverface)
A10000 to A11000 – 1967-68
A11000 to A15000 – 1969-70

Princeton Reverb AA1164 (blackface)
A00100 to A02100 – 1964
A02100 to A07500 – 1965
A05500 to A14500 – 1966
A14000 to A18700 – 1967

Princeton Reverb AA1164, B1270 (silverface)
A18500 to A19500 – 1967
A18900 to A21500 – 1968
A21500 to A25500 – 1969
A24000 to A25000 – 1970
A25000 to A26000 – 1971
A26000 to A27500 – 1972
A27500 to A30000 – 1973
A30000 to A32500 – 1974
A32500 to A34500 – 1975
A34500 to A36000 – 1976

Pro 5A5, 5B5, 5C5, 5D5 (tweed)
01 to 600 –  1948
600 to 1100 –  1949
1100 to 1700 –  1950
1700 to 2500 –  1951
2500 to 3500 –  1952
3500 to 4800 –  1953
4500 to 6000 –  1954

Pro 5E5, 5E5-A, 5E5-B (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Pro 5G5, 6G5, 6G5-A (brown)
00001 to 02400 – 1960
02300 to 05100 –  1961
49000 to 58000 – 1962
58000 to 59200 – 1963

Pro AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964

Pro Reverb AA165 (blackface)
A00100 to A02700 – 1965
A02700 to A09200 – 1966
A07000 to A10200 – 1967

Pro Reverb AA1265, AB668, AA1069, AA270 (silverface)
A10000 to A10500 – 1967
A10500 to A12000 – 1968
A12000 to A13300 – 1969
A13400 to A14500 – 1970
A14500 to A15000 – 1971
A15000 to A15600 – 1972
A15600 to A17200 – 1973
A17200 to A19700 – 1974
A19700 to A20000 – 1975
A20000 to A21500 – 1976

Quad Reverb CFA7104 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Reverb Unit 6G15 (brown, blonde, blackface)
R00100 to R00900 – 1961
R00900 to R02600 – 1962
R02600 to R04800 – 1963
R04800 to R07400 – 1964
R07400 to R09800 – 1965
R09800 to R11000 – 1966

Showman 6G14, 6G14-A (blonde)
00001 to 00350 –   1960
00200 to 00800 –  1961
00800 to 01500 –  1962
01500 to 01800 –  1963

Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967

Showman AB763 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968

Super incl. Dual Professional (tweed)
01 to 400 – 1946-47
500 to 1200 – 1949-51
2000 to 4300 – 1952-53
4500 to 5500 – 1954
5500 to 6100 – 1955

Super 5E4, 5F4 (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Super 5G4, 6G4, 6G4-A (brown)
00001 to 02400 –   1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Super Reverb AA763, AB763 (blackface)
A00100 to A00600 – 1963
A00600 to A06000 – 1964
A05900 to A13000 – 1965
A11000 to A20000 – 1966
A20000 to A27000 – 1967

Super Reverb AB763, AB568, AA1069, AA270 (silverface)
A26000 to A29000 – 1967
A27000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976

Super Six Reverb CFA7106 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Tremolux 5E9, 5E9-A (tweed)
0001 to 00650 –  1955
00650 to 01000 –  1956
01000 to 01300 –  1957
01300 to 01700 –  1958
01700 to 02700 –  1959
02600 to 03300 –  1960

Tremolux 6G9, 6G9-A, 6G9-B (blonde)
00100 to 01000 –  1961
00900 to 04200 –  1962
04200 to 05900 –  1963

Tremolux AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A03700 – 1964
A03200 to A05700 – 1965
A05200 to A08000 – 1966

Twin 5C8, 5D8, 5D8-A, 5E8, 5E8-A (tweed)
001 to 500 – 1953-55A00200 to A00725 – 1956-57

Twin 5F8, 5F8-A (tweed)
A00010 to A00725 –  1957-59

Twin 6G8, 6G8-A (blonde)
00001 to 00100 –  1960
00100 to 00225 –  1961
00225 to 00400 –  1962
00400 to 00525 –  1963

Twin Reverb AA763, AB763 (blackface)
A00100 to A01200 – 1964
A01200 to A04300 – 1965
A04300 to A07000 – 1966
A07000 to A10400 – 1967

Twin Reverb AB763, AC568, AA769, AA270 (silverface)
A10500 to A11300 – 1967
A10500 to A16500 – 1968
A16500 to A21400 – 1969
A21400 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 19760100 to 3400 – 1970

Vibrasonic 6G13, 6G13-A (brown)
00001 to 00350 –  1960
00200 to 00800 –  1961
00800 to 01500 –  1962
01500 to 01800 –  1963

Vibro Champ AA764 (blackface)
A00100 to A02000 – 1964
A01200 to A08100 – 1965
A08100 to A16000 – 1966
A16000 to A20500 – 1967

Vibro Champ AA764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975
A51000 to A53000 – 1976

Vibrolux 5F11 (tweed)
F00001 to F00300 – 1956
F00300 to F00900 – 1957
F00900 to F01500 – 1958
F01500 to F02800 – 1959
F02800 to F04000 – 1960
F04100 to F04400 – 1961

Vibrolux 6G11, 6G11-A (brown)
00100 to 00700 – 1961
00700 to 03700 – 1962
03400 to 05500 – 1963

Vibrolux AA763 (blackface)
A00100 to A01300 – 1964

Vibrolux Reverb AA864 (blackface)
A00100 to A00800 – 1964
A00800 to A03600 – 1965
A03600 to A08300 – 1966
A08300 to A10700 – 1967

Vibrolux Reverb AA864, AA964, AB568, AA270 (silverface)
A10700 to A11000 – 1967
A11000 to A12000 – 1968
A12000 to A13700 – 1969
A13700 to A23400 – 1970
A23400 to A24500 – 1971
A24500 to A25000 – 1972
A25000 to A27000 – 1973
A27000 to A31500 – 1974
A31500 to A33000 – 1975
A33000 to A34000 – 1976

Vibrosonic Reverb (silverface)
A44000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Vibroverb 6G16 (brown)
00100 to 00600 – 1963

Vibroverb AA763, AB763 (blackface)
A00100 to A05300 – 1964

Typical Speakers found inside most Fender Amps:

Bandmaster 5C7, 5D7 (wide panel): Jensen P15N
Bandmaster 5E7, 6G7 (3×10): Jensen P10R, P10Q, Oxford 12K5R-1
Bandmaster 6G7-A: Oxford 12M6, Jensen C12N
Bandmaster AB763 and silverface: Oxford 12T6, Jensen C12N, Utah 12″
Bandmaster Reverb Silverface: Oxford, Utah 12″Bantam Bass Silverface: Yamaha trapezoidal
Bassman 5B6, 5C6: Jensen P15NBassman 5D6, 5E6-A, 5F6, 5F6-A: Jensen P10R, P10Q
Bassman 6G6 , 6G6-A, 6G6-B: Oxford 12M6; Jensen C12NBassman AA864, AA165: Oxford 12T6; Jensen C12N; Utah ceramic
Bassman Silverface: Oxford 12T6; Utah; Rola
Bassman Ten Silverface: CTS 10″ ceramic
Champ 5C1, 5D1: Cleveland 6″ alnico, Jensen P6T
Champ 5E1, 5F1: Oxford 8EV; Jensen P8T; CTS 8″ alnico
Champ AA764, silverface: Oxford 8EV
Concert 5G12, 6G12: Jensen P10R, P10Q
Concert 6G12-A: Jensen P10R, P10Q, C10R; Oxford 10K5
Concert AB763: Oxford 10K5, 10L5; Utah V10LXC1
Deluxe 5B3, 5C3, 5D3: Jensen P12R
Deluxe 5E3: Jensen P12R, P12Q
Deluxe 6G3, AB763: Oxford 12K5-6
Harvard 5F10, 6G10: Jensen P10R
Musicmaster Bass Silverface: CTS 12″ ceramic; Oxford 126PJ4
Quad Reverb Silverface: Oxford 12T6; Utah V12PC; Rola
Princeton 5C2, 5D2, 5F2, 5F2-A:Jensen P8T; Oxford 8EV; Cleveland 8″
Princeton 6G2, AA964: Oxford 10J4; Jensen C10R
Princeton Silverface: Oxford 10J4
Princeton Reverb AA1164: Oxford 10J4, 10L5; Jensen C10R, C10N
Princeton Reverb Silverface: Oxford 10J4; CTS
Pro 5A5: Jensen F15N (field coil), P15N
Pro 5B5, 5C5, 5D5: Jensen P15N
Pro 5E5, 5E5-A: Jensen P15N
Pro 6G5, 6G5-A: Jensen P15N; Oxford 15M6
Pro AB763: Jensen C15P; CTS 15″ ceramic
Pro Reverb AA165: Jensen C12N; Oxford 12L6
Pro Reverb Silverface: Oxford 12L6, 12T6; Utah, Rola 12″ ceramic
Showman 12 6G14, 6G14-A, AB763: JBL D120F with tone ring
Showman 6G14, 6G14-A, AB763: JBL D130F with tone ring
DualShowman AB763: JBL D130F
Dual Showman Rev Silverface: JBL D130F
Super 5B4, 5C4, 5D4, 5E4, 5E4-A: Jensen P10R
Super 5F4: Jensen P10R, P10Q
Super 6G4, 6G4-A: Jensen P10R, P10Q; Oxford 10K5
Super Reverb AA763, early AB763: Jensen C10R
Super Reverb AB763, silverface: CTS 10″ alnico or ceramic; Oxford 10L6; Rola 10″ ceramic
Super Six Reverb Silverface: Oxford 10L6; CTS 10″ alnico
Tremolux 5E9-A: Jensen P12R; P12Q
Tremolux 6G9, 6G9-A: Jensen P10Q or Oxford 10K5R w/tone ring
Tremolux 6G9-B: Oxford 10K5
Tremolux AB763: Oxford 10K5, 10L5; CTS 10″ ceramic
Twin 5C8, 5D8, 5E8-A: Jensen P12R; P12Q
Twin 5F8, 6G8: Jensen P12N
Twin 6G8, 6G8-A: Jensen P12N; Oxford 12M6
Twin Reverb AB763: Jensen C12N; Oxford 12T6
Twin Reverb Silverface: Oxford 12T6; EV; Gauss; Utah; Rola
Vibro Champ/Bronco: Oxford 8EV
Vibrolux 5E11, 5F11: Jensen P10R
Vibrolux 6G11, 6G11-A, AB763: Oxford 12L6, 12M6
Vibrolux Reverb AA864, AA964: Jensen C10Q; Oxford 10L5
Vibrolux Reverb Silverface: Oxford 10L5; CTS 10″ alnico
Vibrasonic 5G13, 6G13-A: JBL D130, D130F
Vibrosonic Reverb Silverface: JBL D130F, K130F; Gauss; EV
Vibroverb 6G16: Oxford 10K5
Vibroverb AA763, AB763: JBL D130F; Jensen C15N; CTS 15″ ceramic

Homesick Mac’s 1st annual Guitar Retreat

June 8, 2012

| Author: Vintage & Rare

Our friends from Sanden Guitars would like to endorse Homesick Mac. This July he is hosting 1st annual Guitar Retreat in Sweden. Please help us spread Mac’s message through your community. It’s very much appreciated.

Below you can read his message and a video that Nicolai from Vintage & Rare recorded with Sanden Guitars and Homesick Mac.

Sanden Guitars / Homesick Mac Baritone Signature

For more information please visit www.homesickmac.com/retreat/Homesick_Macs_site_updates/English.html .

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

The Paganini Il Cannone Guarnerious violin – legendary!!

January 13, 2012

| Author: Vintage & Rare

Paganini Il Cannone Guarnerious

Paganini is often described as the world’s first virtuoso and is still widely recognized as one of the greatest ever. While the story of Paganini’s life story is fascinating reading the story of his favorite violin – his “Il Cannone” (The Canon) is no less so.

Niccoló Paganini (1782-1840) achieved massive fame throughout Europe and was the most celebrated virtuosi of his time, and today he is considered the father of modern day violin techniques. Sadly he lived before the time of recordings, but this rendition of one of his most famous pieces – his Caprice No. 24 – should give you an idea of what his musical and technical prowess could produce. The artist seen is Alexander Markov.

Originally Paganini played a valuable Amati violin. This however he lost in a bet as he was heavily addicted to gambling. Instead a generous businessman and amateur violinist donated him a neglected Guarneri violin. The instrument distinguished itself by having lots a resonance and a booming quality which immediately attracted Paganini. He named it “Il Cannone” – The Canon, and it was on this violin he wrote some of his fastest pieces which require advance technique and performance at breakneck speed.

“Il Cannone” after Paganini

Upon his death Paganini donated “Il Cannone” to the Italian town of Genoa who still holds the violin at the Palazzo Doria Tursi. It is now considered a national treasure. All the principle parts of the violin are still intact a unique fact in itself, considering that this instrument dates back to 1742-43. Notice that it doesn’t have any chin rest, and instead the varnish which also is the original coating has rubbed of. This is due to the fact that Paganini like his contemporaries didn’t use a chin rest. Instead they rested their head directly on the sounding board.

The violin is supervised by a panel of experts. Among them is Mario Trabucco who is charged with playing the instrument regularly and Bruce Carlson, a violinmaker in charge of the conservation. Every year Genoa hosts a violin contest and the winner gets to play the masterpiece so thankfully this masterpiece has not been reduced to a museum artifact. Rarely it’s lended to guest cities with requirements of police escorts and multimillion dollar insurance policies. It can be heard on jazz-violinist Regina Carters “Paganini: After a dream”.

On the following video you can see Il Cannone in live action. The video features Israeli violinist Shlomo Mintz playing Paganinis Violin Concerto.

While Vintage & Rare can’t boast of having a genuine Guaneri on sale we have an excelent replica made by danish luthier Robert Knudsen. The violin is available through our partner Hertz Music based in Denmark.

Robert Knudsen Guaneri Model 1739 Violin

Peter Frampton and the doomed 1954 Gibson Les Paul

January 6, 2012

| Author: Vintage & Rare

From time to time the unthinkable happens. We all know somebody who knows somebody it has happened to. And we all retell the story to friends and familiars with quacking voices, shivering hands and fear painted in our eyes. I’m talking about a musician’s ultimate nightmare: The losing of your favorite instrument. This was exactly what happened to guitar legend Peter Frampton in November 1980 when a cargo plane carrying his precious 1954 Gibson Les Paul crashed during takeoff in Caracas, Venezuela tragically killing the pilot and co-pilot.

The master piece seen on the picture to the left was presumed lost for 31 years until it finally reemerged last month having spent just over three decades on a little Dutch Caribbean Island called Curaçao. So what happened?
In 2010 (before the reemerging) Frampton gave an interview to rumerz.com as his Gibson signature model of the very same guitar hit the market. Frampton traces the history of how he came in possession of his ’54 Les Paul and it’s clear that he was still dealing with the loss at this point:

[rumerz.com]

What is it about your black Gibson Les Paul that you love so much? How did it come about for you to release a signature model with Gibson?
[Frampton] “The original black Les Paul that I had was when I was playing with Humble Pie supporting the Grateful Dead in San Francisco back in ’70 or so. I had swapped a Gibson SG for a Gibson 335, a semi-acoustic. With the loud levels we used to play, when I turned it up for solos, the sound was just all over the place, whistling feedback, you know. There was someone at the concert that heard the problem, and he offered to let me borrow his Les Paul for the next show. I told him I’d never had luck with a Les Paul and that I preferred SG’s. He brought it ’round to the coffee shop the following day, and it was this 1954 Les Paul. I played it that night. He had re-routed it for three pickups instead of two and it was recently refinished by Gibson. It looked brand new. I don’t think my feet touched the ground the whole evening. It was just such an amazing guitar. I came off stage and told him thank you, and asked if he’d ever want to sell it, and thanks so much. He said he didn’t want to sell it to me, but he offered to give it to me. He gave it to me. Mark Mariana is his name. We keep in touch even today. Unfortunately in 1980, we had a disastrous plane crash with all our gear on it in Caracas, Venezuela. The pilot and co-pilot were lost, and their loss was very tough. Their lives meant so much more than that guitar. I’m not saying I don’t miss it, but it was a piece of wood compared to their lives.”

“Cut all the way forward. When I moved to Nashville about 13 years ago, I used to go hang out at Gibson. It was like my club, and I’d go hang out with the luthiers. I made a lot of friends at Gibson. Mike McGuire, the head of the custom shop, suggested one day that they should make a Peter Frampton model. We spent a year working together on trying to make it as much like the original as we could. I tried to give him as much information as I could from what it felt like, and they came so close. I love my guitar. It’s probably nothing like the other one, but I love what they did for me. We’re over 500 made now, and the PF Custom is out there and the collectors love it.”

Little did Frampton know that while this interview was being made heavy negotiation was going on between the local Curaçao musician who had the instrument, Mr. Balentina – a local customs agent who spends his spare time repairing guitars, a hardcore Frampton fan from the Netherlands as well as the head of Curaçao’s tourist board Ghatim Kabbara. Confused?
Well apparently the guitar was saved from the burning wreckage of the plane and sold to a local musician from Curaçao. For the last 30 years the still unidentified musician has been using it playing hotels and bars on the Island totally unaware of the instruments history. Two years ago he handed the piece in to free time guitar repairman Donald Balentina. N.Y. Times’ James C. McKinley JR. tells the story:

Asked to repair the guitar, Mr. Balentina noticed the unusual third set of pickups and burn marks on the neck, Mr. Kabbara said. The customs agent began to suspect the guitar might be the one Mr. Frampton had played on the “Frampton Comes Alive!” album. He consulted with another Frampton fan in the Netherlands, who confirmed it had all the earmarks of the missing Gibson. Mr. Balentina also sent photos of the inner works of the guitar to Mr. Frampton. Mr. Frampton said he was stunned when he saw the photos; it looked like guitar, he said, but he could not be sure.

For two years Mr. Balentina tried to persuade the local guitarist to sell the instrument, and finally, in November, facing a financial problem, he finally agreed. But Mr. Balentina did not have money and, afraid another buyer might scoop up the guitar, he approached Mr. Kabbara at the tourist board.

Mr. Kabbara, an amateur guitarist who admires Mr. Frampton, agreed to put up the board’s funds to purchase the guitar, on one condition. He and Mr. Balentina would take the guitar to Mr. Frampton as a gesture of goodwill. “I thought the right thing to do was to give him back his guitar,” he said. “This guitar was him. The whole 1970s was this guitar.”

Mr. Frampton, who is 61, said he hopes to play the guitar again when he appears at the Beacon Theater in New York in February. For now, he has left the instrument at the Gibson Custom Shop in Nashville to have some minor repairs made. The neck is still straight, he said, but he must replace old pickups with new ones, made to the same specifications as the original coils. But he said he will leave the burn marks and scrapes alone. “I want it to have its battle scars,” he said.

Ca. a month ago Mr. Kabbara managed to seal the deal via public funds and travelled to Nashville to hand over the guitar to Frampton. The moment he picked it up he knew it was the same ’54 Gibson Les Paul he almost exclusively had used throughout the 70’ies most notably perhaps on his 1976 breakthrough “Frampton Comes Alive!”. In a phone interview with N.Y. Times Frampton states: “For 30 years, it didn’t exist – it went up in a puff of smoke as far as I was concerned.”. As seen on the picture a clearly very happy Frampton is now reunited with his long lost love. To his webpage Frampton states:

“I am still in a state of shock, first off, that the guitar even exists let alone, that it has been returned to me. I know I have my guitar back, but I will never forget the lives that were lost in this crash. I am so thankful for the efforts of those who made this possible…And, now that it is back I am going insure it for 2 million dollars and it’s never going out of my sight again! It was always my #1 guitar and it will be reinstated there as soon as possible — some minor repairs are needed. And, I just can’t wait to get Mark Mariana on the phone.”

V&R like to congratulate Frampton for getting his prized possession back after all these years and also send a big thanks to Frank Gross from Thunder Road Guitars for making us aware of this story.

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