The amazingly robust community is hosting an interesting conversation about guitar prices, “Is there a point where a guitar just becomes simply over priced?.” In an age where you can spend more on a Gibson reissue than on a decent used car, the answer seems to be a resounding, OF COURSE. But the opposite position has a surprising amount of support. User nobodygivesafuckk (!) describes a fleeting meeting with Vince Gill’s $12,000 Kelton Swade strat:

5 years and hundreds of guitars played later, nothing else has come anywhere close, both tone-wise as well as playability. I got to play it for about 3 hours, and to this day that memory is still my most vivid one when it comes to guitars. I’m sorry, but nothing even comes close. So yeah, I guess you get what you pay for.

Read along or join the discussion at Reddit.

Right here.

The Unique Guitar Blog has given its typically comprehensive treatment to the subject of Vox guitars. In a recent post, they run down the company all the way from its beginnings in 1962 through present day. Did you know:

The company started as the Jennings Organ Company in 1958, by Tom Jennings who …  joined up with a guitarist named Dick Denney who had built an amplifier for his guitar. Denney was suffering from hearing loss and the amplified sound of his guitar could keep him working.

Read much more and see lots of great vintage pics and ads at UGB.

Right here.

10 heads ... zero power cables. Oh well.

10 heads … zero power cables. Oh well.

Here’s a bird’s eye view of the backline Zakk Wylde used for Black Label Society’s set at this past weekend’s Rockfest in Kansas City, Mo. The five full stacks appear to be cosmetic (as such monolithic walls are these days), though Zakk did reportedly employ four additional 4x12s for his stage sound.

Photo courtesy Gregg Todt. 

No, we’re not talking about Melt Banana, but rather a vintage 6-string specimen on display over at Guitarz. Like many ’60s guitars, it has a somewhat convoluted provenance. As they describe it:

(T)hese guitars were branded as both Ibanez and Dega, and were part of the appropriately names “Bizarre Series”, with this model being known as the Biz Moon. It seems it would have been made circa 1966-67 and would have originally retailed for $115.95.

You really should head to Guitarz and have a look.

Right here.

If you have a projected half million bucks and a lust for historic gear, the upcoming Julien’s Music Icons auction at the Manhattan Hard Rock Cafe is the sale for you. Up for grabs among other Beatles memorabilia is George Harrison’s iconic Rickenbacker 425, a guitar purchased when the band was ascendant and Harrison was visiting his sister in the U.S. This is where members of a band called The Four Vests come into the picture. From Guitar Aficionado:

When he mentioned that he wanted to buy a Rickenbacker, they took him to Fenton’s Music Store in Mount Vernon, Illinois, where he purchased the 425, serial number BH 439. Harrison paid about $400 cash for the instrument.

When he mentioned that he wanted to buy a Rickenbacker, they took him to Fenton’s Music Store in Mount Vernon, Illinois, where he purchased the 425, serial number BH 439. Harrison paid about $400 cash for the instrument. – See more at:

Read more about the guitar’s history at GA.

Right here.

Reverb recently posted a gallery of classic Les Paul models spanning the years 1952 through 1960. The guitar has a storied history, each variation with a tale of its own. Here’s a note about the gorgeous ’55 Les Paul Custom:

Like the Goldtop, the Les Paul Custom’s tuxedo-like cosmetics were meant to look high-end, earning this model the nickname Black Beauty. The Custom differed from the Standard in its use of multi-ply binding, square inlays on an Ebony fingerboard, gold-plated parts and comparatively low frets. This model was the first to use the new stopbar tailpiece and tune-o-matic bridge, an innovation closely associated with Ted McCarty which was added to the standard in 1955.

Take them all in at Reverb.

Right here.

A guitar is just a hunk of wood with some other hardware and parts screwed onto it, right? Well, sort of, but that wood is of the utmost importance, as a new Guitar Player article explains:

However much your pickups, amp, and effects influence your final tone, the cornerstone of a guitar’s voice is the wood it is constructed with. You can hear the difference in the resonance and response of different tonewoods even when a guitar is played unplugged.

Learn the characteristic differences between Fenders and Gibsons and read up on the importance of every detail down to the fretboard. Also view some beautiful samples of tonewoods at GP.

Right here.


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