Tag Archives: Vintage

Grinning Elk interview with Ray Mauldin from Grinning Elk

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.

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.

Eternal Guitars Interview with Dave Walsh from Eternal Guitars

Dave Walsh owns a small one man workshop in Britain where he builds authentically aged, “relic” electrical guitars. We had a little chat with Dave about Eternal Guitars and his working methods.

Hi Dave, thank you for taking your time to speak to us. Could you tell us a little bit about how and when did you start Eternal Guitars? Where are you located?
Hi there. I’ve been a luthier for almost 20 years – I originally did an apprenticeship in Denmark Street in the west end of London but in that time I’ve also worked in other areas of the guitar world, including writing for Guitar & Bass Magazine in the UK and a stint at Guitar Institute in London, but I’ve always loved repairing and making guitars. I moved away from London a couple of years ago down to the south coast of England and I had to start my business again, so I decided to do something a little different. I love vintage guitars and being a creative person with a bit of an art background, I found that I really enjoyed the relic process on the few guitars that I had done for customers in the past so I decided to begin making them. The first review that I received was very positive and now people are beginning to love the guitars because they sound as good as they look!

What motivated you to begin building aged “relic” electric guitars in the first place? And what type of guitars do you build? Standard models? Custom orders? How does it work?
The primary motivation was a love of the process. I’d seen plenty of relic guitars on the market – some very nice and others not quite so good! So I wanted to make aged guitars using high quality components and nitrocellulose lacquer which in my opinion sounds better than modern poly finishes and combine the look with my experience in setting up vintage guitars so that they play as well as possible and of course also sound amazing within a realistic budget. I offer standard models based on well known instruments but I also build hybrid, custom or totally one-off models.

Please describe to us how do you come up with the names for your guitars?
To be honest I can’t really take the credit or the blame for that! My wonderful girlfriend usually christens them depending on how they look. I don’t think she sees them (or anything else) as inanimate objects – and I think she’s right… : )

You are currently building your first bass guitar. How did that come about?
To be fair, it’s not the first bass that I’ve ever made but it is the first Eternal. I’d been wanting to make an aged bass from the beginning but time and constant guitar orders conspired against me! My good friend Chris (who also helps out with the marketing) is a bass player so we collaborated to make a special one for him. He has a particular style and sound that he needs so that’s why it ended up as a bit of a hybrid with modern hardware and his choice of pickups. It sounds thunderous though and he’s very happy with it. Next up will be a stock early ‘50s T-Type bass in butterscotch blonde…

Can you describe to us the process, from idea to conception, of building a great relic guitar or bass?
It may sound obvious, but it really does start with the wood. Every guitar – even electric ones – are acoustic in nature and if it doesn’t sound good unplugged then put it back on the wall and walk away! Ash, alder and mahogany bodies all sound very different too as well as maple or rosewood fingerboards so I go through a very long process of determining exactly what tone a customer is seeking before settling on the right wood combinations. Some are tried and tested like ash and maple for an early ‘50s T-Type sound but sometimes like on my T-Type Jr which is actually a hollow mahogany design it can be a bit more experimental. With the T-Type Jr I was looking for a fat, warm sound without the associated weight of a Les Paul for example and the result is a very lightweight but incredibly loud guitar. The pickups are only there to amplify the core tone and colour the sound to a point – we have a saying here that you ‘can’t polish a turd’ and with pickups that’s very true as they will never make a terrible guitar sound great. So once I know what a customer wants in terms of tone, the rest is about making it feel and of course look great by using the right finishing products, hardware and professional set-up.

Do you have one instrument that is your favorite or that makes you the most proud in terms of craftsmanship, sound, look, and so forth?
Oh, I love them all but the Blonde S-Type ‘Betsy’ is a truly wonderful guitar – as is the Custom T-Type that I made for Sound Venture Guitar Boutique. I also love the T-Type Jr as well as the new Olympic White over Three-Tone Sunburst J-Type that has just been christened ‘Lola’.

How do you consider musical styles and genres when building your guitars in terms of selection of pickups, woods etc.?
That’s good question. Usually a customer will have at least a vague idea of what they want, but not always, and some people are embarrassed by a lack of knowledge. Sometimes I have to coax it out of them but by asking the right questions I can usually narrow it down. As I’ve mentioned above, some wood and pickup combinations are classics that will work 99% of the time whereas sometimes I have to be a bit more creative and interpret what a customer needs and wants into a workable design. The Eleanor E-Type guitar is a good example – it’s owner Mike approached me to make a one pickup T-Type relic but with the feel and sound of an Ibanez Jem… On the surface, it looks like most of my other guitars but the neck profile is copied from one of Mike’s own Jem guitars, there are 24 frets on a 16” radius fingerboard with a bullet truss rod adjuster at the headstock. The lower cutaway on the body is deeper than normal for better access to the top frets and on the back the heel is sculpted away and there’s also a ribcage contour. The pickup is a DiMarzio Evo2 which is coil split and makes a great T-Type twang as well as all the usual hi-gain grunt. Oh, and there’s a kill switch and an angled jack socket like a Jem too…

Are your guitars especially common among musicians playing a certain genre?
Not especially. Obviously the more classic vintage designs lend themselves to certain styles of rock, jazz and blues but a great sounding guitar can work in any musical environment. Ultimately, I’m happy to build whatever the customer wants and if that means installing a Floyd Rose on a banjo then I’ll consider it..!

When building a custom guitar or a bass for a particular player, what considerations do you make?
It’s up to me to get it right first time so I ask A LOT of questions and nail down the exact spec. before picking up any tools. My guitars represent a fair investment for most people so they have to be right in themselves and for the individual player. Everything from fret size to the capacitor values can be specified and decided in discussion with the customer. Once the build is completed I then go through an exhaustive set-up procedure to ensure that the instrument plays at its best for the style that the player requires and most importantly how he or she plays because we all play differently…

Any interesting new relic guitars or basses on your workbench right now?
I’ve just finished a Reverse J-Type in Sea Foam Green that is a killer one pickup guitar and I’ve also been commissioned by a gentleman in Sweden to build a VERY obscure Jeff Beck S-Type which has been a lot of fun as no one anywhere has any real knowledge of the instrument except some footage from a German TV show in the early ‘70s.

Any advice for players looking to order a custom relic guitar or bass?
Don’t be afraid to ask! Almost anything is possible be it a straight copy of a classic vintage guitar or something hybrid or totally unique – drop me a line through the website or give me a call. I love a challenge 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’s vital in creating awareness if nothing else. Technology plays a huge role in marketing a brand or business and for a one man business based on the seaside in England it means I can reach customers worldwide as well as locally. I’m currently building guitars for customers in Sweden and Japan too – and that would never have happened without the internet…

Any famous last thoughts?
Thank you so much for talking to me! I now have to return to repairing guitars and refitting the bridge to an old 12-String acoustic  – it’s not all glamour here… ; )

Boutique Bass Guitars Equals The New Vintage

By Mike Ippersiel

So what’s the big deal about boutique basses?

Perhaps this is something that you’ve thought to yourself as you’ve looked at high resolution images of handmade or highly customized basses that cost $3,000 and up.

Are they worth more than triple what you can spend to pick up a decent bass off the shelf at your local music store?Do all those exotic woods do anything besides look, well…exotic? Are they really just over-priced pieces of furniture fashioned into the shape of a bass guitar?

Yes and no.

You see, any particular bass guitar is going to be worth more or less money from one person to another. Some instrument collectors will pay outrageous sums of money for rare instruments because they happened to be owned or even were only played a few times by someone famous like Paul McCartney or Jaco Pastorius.
Others may pay to have a bass guitar built by hand that many may feel is either ugly, or even unplayable. It’s true that one man’s trash is another
man’s treasure!

For me, it was the price tag that really put boutique basses on a pedestal for me.

Here I was, a modest rock bassist playing covers and original music who was happy to go home after a gig with $100 bucks in his pocket – what right did I have to daydream about a high-end custom bass guitar? The ‘realistic’ side of me said that I could own a bass like that ‘one day’ when I ‘made it’.

While there is a market for boutique bass guitars that look like furniture and that span 5, 6, 7, 8 strings and beyond, a significant chunk of the high end bass guitar market is devoted to what I’ll call ‘modern vintage’ instruments.

Luthiers like Sadowsky, Mike Lull and Alleva-Coppolo (just to name a few) offer modern takes on the classic Fender Jazz bass guitar – that cost several times more than it would cost to just pickup up an actual Fender bass yourself.

So why pay more for a ‘copy’ than buying the original bass from the actual manufacturer?
The reality is that the art of creating a bass guitar has changed dramatically in the last few decades.

Basses are now mass produced and outsourced to overseas operations all in the effort to keep them as affordable as possible. While this is great for the typical musician, the professionals and perfectionists among us have often lamented that many of the instruments just don’t feel or sound as good as the basses made back in the 60s and 70s.

Part of the reason for this could be using inferior woods, rushing the manufacturing process and not allowing even the quality woods to age sufficiently.

Perhaps in an effort to trim back costs to compete in the global market place, wages were reduced to the point where it’s not as economically viable for master craftsman and women to be employed at some of the bigger name companies?

Whatever the reason, the best advice I’ve heard and often repeated when it comes time to buy a new instrument – especially one that’s mass produced by one of the more popular brands out there – is to play as many as you can and let your hands and your ears tell you which one to buy.

In a perfect world, you should be able to just walk into a store and pick the model you like the best and get it in your preferred colour and walk out. You wouldn’t worry about another bass sounding better because they’d all sound the same right?  However, even among the most reputable manufacturers the consistency may fluctuate from bass to bass.

With Fenders I’ve heard of some people exclaiming that Made in Mexico basses were as good or better than Made in America basses – but you’ll only find that gem of a great sounding bass at a more affordable price if you’re willing to hunt for it. So again the advice, play every bass you can get your hands on, play every bass in the store and buy the one that sounds and feels the best to you.

Do you see where I’m going with this?Advantages of using a luthier?
Time is a huge factor behind why many people are more than happy to pony up the big bucks for a modern take on a vintage classic. They can chat with the luthier about what they’re looking for and get it made to order – the finish, the string spacing, the woods, the hardware – whatever.

Compared to hitting every music store in every neighbouring city within an hour’s drive; or camping out on Ebay or classified ads sites waiting for a certain vintage bass to come up for sale, the amount of time saved can be tremendous…and we all know that time is money right?

Plus, who’s to say that when you finally do find that vintage Fender that you’ve been pining over for years that you won’t pick it up and find the dreaded ‘dead spot’ after plunking a few notes?

Going the custom route alleviates a lot of those difficulties; many of the luthiers have exceptional warranties to go with the instrument. After all, it’s their name on the headstock and they want to make sure every customer is going to speak highly of their products and customer service.

Then again…
Boutique basses aren’t really about a particular style of music, or the status of the player – you don’t have to be a celebrity to own these high end basses (and I’d argue that the vast majority of owners are nowhere near famous)– the instrument just needs to offer that something that you can’t easily find elsewhere to make it worth the cost.

For some, it’s a replica of a vintage bass guitar that they always loved but could never find. For others, a boutique bass is where they get to tailor things like the weight, the neck shape and depth or the number of strings that the mass produced versions just can’t do in an economical fashion. Still others want the best of traditional styling and a 20 fret fingerboard along with modern features like a low b string and active electronics.

Whatever your reason, boutique basses are worth a closer look whether you find modern instruments lacking or covet extremely rare vintage bass guitars that are in short supply.

In the end you might find the biggest pain is not how much the custom basses cost, but the agony of waiting for your boutique bass to be built!

You can learn more about boutique bass guitars and more by visiting http://bassguitarrocks.com/how-do-i-buy-a-custom-boutique-bass-guitar
– thanks for reading!

Boutique Bass Guitars Equals The New Vintage

By Mike Ippersiel

So what’s the big deal about boutique basses? Perhaps this is something that you’ve thought to yourself as you’ve looked at high resolution images of handmade or highly customized basses that cost $3,000 and up.

Are they worth more than triple what you can spend to pick up a decent bass off the shelf at your local music store? Do all those exotic woods do anything besides look, well…exotic? Are they really just over-priced pieces of furniture fashioned into the shape of a bass guitar?
Yes and no.

You see, any particular bass guitar is going to be worth more or less money from one person to another. Some instrument collectors will pay outrageous sums of money for rare instruments because they happened to be owned or even were only played a few times by someone famous like Paul McCartney or Jaco Pastorius.

Others may pay to have a bass guitar built by hand that many may feel is either ugly, or even unplayable. It’s true that one man’s trash is another man’s treasure! For me, it was the price tag that really put boutique basses on a pedestal for me.

Here I was, a modest rock bassist playing covers and original music who was happy to go home after a gig with $100 bucks in his pocket – what right did I have to daydream about a high-end custom bass guitar? The ‘realistic’ side of me said that I could own a bass like that ‘one day’ when I ‘made it’.

While there is a market for boutique bass guitars that look like furniture and that span 5, 6, 7, 8 strings and beyond, a significant chunk of the high end bass guitar market is devoted to what I’ll call ‘modern vintage’ instruments.

Luthiers like Sadowsky, Mike Lull and Alleva-Coppolo (just to name a few) offer modern takes on the classic Fender Jazz bass guitar – that cost several times more than it would cost to just pickup up an actual Fender bass yourself.

So why pay more for a ‘copy’ than buying the original bass from the actual manufacturer?

The reality is that the art of creating a bass guitar has changed dramatically in the last few decades.
Basses are now mass produced and outsourced to overseas operations all in the effort to keep them as affordable as possible. While this is great for the typical musician, the professionals and perfectionists among us have often lamented that many of the instruments just don’t feel or sound as good as the basses made back in the 60s and 70s.

Part of the reason for this could be using inferior woods, rushing the manufacturing process and not allowing even the quality woods to age sufficiently.

Perhaps in an effort to trim back costs to compete in the global market place, wages were reduced to the point where it’s not as economically viable for master craftsman and women to be employed at some of the bigger name companies?

Whatever the reason, the best advice I’ve heard and often repeated when it comes time to buy a new instrument – especially one that’s mass produced by one of the more popular brands out there – is to play as many as you can and let your hands and your ears tell you which one to buy.

In a perfect world, you should be able to just walk into a store and pick the model you like the best and get it in your preferred colour and walk out.

You wouldn’t worry about another bass sounding better because they’d all sound the same right?

However, even among the most reputable manufacturers the consistency may fluctuate from bass to bass.
With Fenders I’ve heard of some people exclaiming that Made in Mexico basses were as good or better than Made in America basses – but you’ll only find that gem of a great sounding bass at a more affordable price if you’re willing to hunt for it. So again the advice, play every bass you can get your hands on, play every bass in the store and buy the one that sounds and feels the best to you.

Do you see where I’m going with this? Advantages of using a luthier?

Time is a huge factor behind why many people are more than happy to pony up the big bucks for a modern take on a vintage classic. They can chat with the luthier about what they’re looking for and get it made to order – the finish, the string spacing, the woods, the hardware – whatever.

Compared to hitting every music store in every neighbouring city within an hour’s drive; or camping out on Ebay or classified ads sites waiting for a certain vintage bass to come up for sale, the amount of time saved can be tremendous…and we all know that time is money right?
Plus, who’s to say that when you finally do find that vintage Fender that you’ve been pining over for years that you won’t pick it up and find the dreaded ‘dead spot’ after plunking a few notes?

Going the custom route alleviates a lot of those difficulties; many of the luthiers have exceptional warranties to go with the instrument. After all, it’s their name on the headstock and they want to make sure every customer is going to speak highly of their products and customer service.
Then again…

Boutique basses aren’t really about a particular style of music, or the status of the player – you don’t have to be a celebrity to own these high end basses (and I’d argue that the vast majority of owners are nowhere near famous)– the instrument just needs to offer that something that you can’t easily find elsewhere to make it worth the cost.

For some, it’s a replica of a vintage bass guitar that they always loved but could never find. For others, a boutique bass is where they get to tailor things like the weight, the neck shape and depth or the number of strings that the mass produced versions just can’t do in an economical fashion. Still others want the best of traditional styling and a 20 fret fingerboard along with modern features like a low b string and active electronics.
Whatever your reason, boutique basses are worth a closer look whether you find modern instruments lacking or covet extremely rare vintage bass guitars that are in short supply.

In the end you might find the biggest pain is not how much the custom basses cost, but the agony of waiting for your boutique bass to be built!

You can learn more about boutique bass guitars and more by visiting http://bassguitarrocks.com/how-do-i-buy-a-custom-boutique-bass-guitar
– thanks for reading!

Kari Nieminen/Versoul Interview

At Vintageandrare.com we would like to introduce a new feature on our blog: The V&R-interviews. The purpose of this is to give a slight introduction to some of the amazing people, who build, sell or just plainly love their instruments as much as we do.

Our first headliner is the renowned Kari Nieminen, who is the mastermind of  the magnificent Versoul, residing in Helsinki, Finland. Karis stringed instruments has attracted a lot of attention from some cool customers, and here, Kari lifts the shroud on what lies behind his success in the business.

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A closer look at the rockin’ custom made Raya for Billy Gibbons – Photo by Versoul

Hello, Kari, and thanks for taking your time for this interview. Could you tell us, what initially made you become a luthier?
I started carving wood at age of three in 1963 and when I built my first guitar in 1973 it was technically an easy switch. I have been addicted to music since early 1970′s. Music has been a generator for my career; rock, blues and soul are the most important styles. At 17 I got my first guitar order and after since I have been experimenting with materials and technics. At 20 I built my first acoustic influenced by The Everly Brothers guitar sound.
I’m educated as an industrial designer and a self learnt guitar builder, so my approach to guitar building is different compared to traditional luthiers. I’m always searching and developing new concepts and ideas for new instruments, which are based on deep knowledge and analysis of guitar history and evolution.

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What has been your biggest challenge?
You have to be very patient since it takes at least 10 years to get more renowned and establish your brand at certain level. When you are a one man company you have plan your time and resources carefully. A major part of my work is communicating with clients and travelling to meet up with musicians and media for Versoul promotion.

What is your biggest dream of building someday?
Well, I’m only trying to make better instruments for open-minded musicians who would then use them as tools in the creative process of making immortal music.

Which was the first instrument you made?
I was about 13 years old in 1973 when I built my first guitar, an electric solid body at home. You may find a picture of it at my website’s gallery. (We did, red).

Kari and his first, selfmade electric guitar – Private photo

What instrument have you been most proud of?
There are several instruments, actually.
There are the Kenny Burrell Jazz Models: A “Kenny Burrell Jazz Model 6-string” and a “Kenny Burrell Jazz Model 12-string” acoustic guitars made for jazz-guitar legend Kenny Burrell. I have also made a series of custom Raya electric guitars for ZZ Top-guitarist Billy F Gibbons, which made him so pleased that he named the models as ‘Raya Billy F Gibbons Blue Light Specials‘. Also I have built three custom 10-string guitars for Keith Richards during the last three years. Dusty Hill of ZZ Top bought my one of kind Raya Blue Light Bass in 2009 and keeps it at his living room with his favourite basses. My first important customer was Amancio Prada, a well respected Spanish artist, who ordered and plays my Touco Classical guitar. We have to remember that Spain is the home of the classical guitar and Amancio already owned the best, historical Spanish classical guitars. That order meant a lot.

What type of wood is your preferred, when building an instrument?
Of course the quality is important, wood have to be well seasoned and cut right. I use East Indian rosewood for fingerboards, back and sides & parts for acoustics and electrics. Also a bit of ebony fingerboards and parts. Red cedar and spruce for acoustic tops. Alder for electric guitar and bass bodies. Maple and aspen for neck material. Also curly and very rare visa birch for electric guitar tops. During last ten years I have been experimenting with domestic woods: alder and aspen. We have to remember, ecological aspects are more and more important, since certain tropical hardwoods have been over cut and are in danger of disappearing and have fortunately been protected. Therefore I do not use mahogany anymore.
The most essential thing about building guitars, is to use the right construction materials in balance with lightness, stiffess, resonance, flexibility, all combined with aesthetic aspects.

How did you get in touch with people like Ronnie Wood, Roger Daltrey and Billy Gibbons?
Around 2000 I got a great dealer, Westwood Music from Los Angeles. The owner, Fred Walecki, had very nice contacts and plenty of hi-end customers. Roger Daltrey was one of them. He got very excited by my Buxom acoustic guitar and wanted to help me, so he called Alan Rogan, a highly respected guitar technician. Alan has worked with George Harrison, Pete Townshend, Eric Clapton, AC/DC, John Fogerty, Joe Walsh, Keith Richards; etc.

Kari and Ronnie Wood – Photo by Alan Rogan

So, I sent two guitars to Alan and he was very impressed. First he introduced Versouls to Ronnie Wood. According to Rogan, Ronnie hardly even get excited by guitars, but after checking the Versouls, he immediately wanted to buy both. Since then, Ronnie has bought 6 other Versouls.
In 2006 I bought Billy Gibbons’ book ‘Rock’n’ Roll Gearhead’ and that inspired me to build a special Raya guitar with a Blue Light and perforated steel sides in a gold leaf finished body.
After one round of trying to get in touch with Billy, his long time friend Elwood Francis contacted me by chance. Elwood was working for Rich Robinson of Black Crows. Anyway, nice timing, so I sent some photos of the Raya Blue Light to Elwood and immediately afterwards, Billy wanted to buy it.

Were they demanding customers?
Yes, after all guitar is a communicating tool for them. Ronnie knows exactly what he wants; not only sound wise, as he is a visual artist himself, who understand aesthetic values a great deal. Also Billy Gibbons has played hundreds of guitars, and he’s very hard to please sonically and visually. Besides this, Billy has very creative ideas of guitars.

What did they like about your specific style of building guitars?
Ronnie and Billy both like the Versoul uniqueness: The sound and playability & ergonomics combined with unique artistic features.
Ronnie Wood has bought two Raya Electric Baritones 6 string models, Raya Blue Lite Electric Guitar, Buxom 12 Acoustic Guitar (my gift to Ronnie when he turned 60) and a Henry Gold Leaf Top Electric Guitar.
These Versouls he used on the Bigger Bang Tour with The Rolling Stones.
In addition to this, he has bought Buxom 6 String Acoustic Guitar, which he for example used in the BBC Documentary about him. Also he has bought Resosun 6 String Electric Acoustic resonator guitar and Raya Electric and Buxom Acoustic Baritones, both 12 String Models.

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The custom made Raja guitars for Billy Gibbons – Photo by Versoul

The first guitar, Billy bought, was the above mentioned Raya Blue Light. a solid body guitar in gold leaf finished body. Right after that, he ordered two Raya Custom versions with chambered bodies and Les Paul scale length and all gold leaf finish, body and neck with chrome hardware. Billy was so pleased with his new Versouls that he named the model as Raya Billy F Gibbons Blue Light Special.
A year later he bought a Baritone 6 string version of the model concerned. In the summer of 2010 Billy then bought a Black finished Raya Billy F Gibbons Blue Light Special with gold hardware.
Billy has used his Versouls both on ZZ Top Tours and several other performances, like at the Goodwood Festival of Speed in the UK in 2010 with Jeff Beck and Jimmie Vaughan.

Visit Kari and Versoul at his website and have a look at the awesome craftmanship. It made Ronnie Wood and Billy Gibbons turn their heads, and yours will too. You should also check our current list of our associated dealers at Vintageandrare.com.

Palm Guitars, Amsterdam/Holland – Interview

When it comes to vintage and rare instruments in the Netherlands, Palm Guitars is one of the most well-known dealers. The owner, Soren Venema, has been in the business of fine and collectible vintage instruments for 35 years. His website www.palmguitars.nl has many amazing instruments from all over the world. Whether it’s an old Fender Stratocaster, a Greek Bouzouki, or an Uzbhek Tar, it can be found at Palm Guitars. Let’s meet, Soren, one of vintage musical instruments premiere dealers.

V&R: Hello Soren, thank you for taking the time for this interview. Before we discuss the range of your products and collections in more detail, can you please give our readers the history of Palm Guitars? When did Palm Guitars become an idea? Can you tell us how it all started?

Soren:  Palm Guitars started in 1976, on Waterlooplein , the famous flea-market in Amsterdam, with 50 euros and half a cowhide, making belts and other leather goods by hand. Then we slowly moved into antiques and ethnographical items and musical instruments. After spending 10 years in England buying and selling, Palm Guitars moved back to Amsterdam. We ran a musical instrument auction for a few years doing cataloguing and valueing all musical instruments. Then in 1995 Palm Guitars at its present location opened its doors.

V&R: That’s fascinating. So what was your first instrument sale back then, if you can recall?

Soren: It was an old Greek Lautas–a type of bouzouki from Macedonia.

V&R: An old Greek bouzouki? That’s very cool. Do you guys offer any artist appearances and clinics within Palm Guitars?

Soren: I have done clinics and concerts with some of the National Reso/Phonic players such as Bob Brozman, Catfish Keith,and many others , as well as ethnic concerts with players from Siberia, India , Serbia and so on.

V&R:What is the main focus in your business? Does Palm Guitars focus on selling vintage instruments only?

Soren: I am also importing a few brands, such as National Reso/Phonic guitars, Goldtone banjos as well as having my own brand “Palmstrings”, which include resonator Django Selmer type guitars…….

V&R: Do you offer private lessons in Palm Guitars?

Soren: I give one lesson with every instrument I sell.

V&R: So where did you get your enthusiasm and passion? Are there any exciting stories you would like to share with us?

Soren: Having a shop is my way of interacting with the world, and meeting known and unknown musicians can be a bonus.

V&R: Does Palm Guitars export instruments to every corner of the world? Or is it more of a regional kind of store for locals?

Soren: A lot of business goes all over the world through the website, in fact probably a greater part than what sells locally.

V&R:We have noticed that you aim to keep your prices as fair as possible, for any musician to experience a vintage instrument. Do you feel that this has been a great asset for business?

Soren: It was a long time ago when people decided themselves what something was worth, but nowadays everybody has internet and so prices have become more standardized. Price Guides can be of help but are of course not always dependable.

Thanks again for taking the time to answer the questions and share your experience with us.

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If you want to contact Palm Guitars here is some information for you:

Palm Guitars specializes in buying, selling and repairing used and antique musical instruments, western as well as ethnic.

The adresse is:

s’Gravelandse Veer 5bg 1011 KM Amsterdam The Netherlands

And they are open: wednesday-saturday 12-18 Phone:+31 (0)20 422 0445

E-mail: palmgtr(@)xs4all.nl