Prelude
WELL, A HEARTY HALLOO AND AN AMICABLE AHOY dear readers. I hope 2026 is treating you well so far and is all hunky‑dory in your world. NB. ‘hunky‑dory’ is American reduplicated slang generally meaning ‘safe, satisfactory and pleasant’. It first appeared in print in a collection of minstrel songs, ‘Essence Of Old Kentucky’ (1862) by George Christy. ‘Hunky Dory’ (without the hyphen) is also the fourth studio album by the legendary David Bowie from 1971.
It is almost unbelievable to think that we are already six years since the Covid‑19 outbreak and four years since Russia invaded Ukraine but here we are, racing through 2026 at a rate of knots (NB. A knot is one nautical mile per hour. A nautical mile is about 1.15 land miles).
“With your smiling faces round, ‘Tis then I’m hunkey dorey” – Christy’s Minstrels
After a challenging winter for many, it will soon be time to welcome the refreshing renewal of spring (at least up here in the northern hemisphere). It is a time to be optimistic and enthusiastic about life’s opportunities in the spirit of rejuvenation. If only such a prophecy could be self‑fulfilling.
Going against natural tendency, I will be trying to keep this month’s article short and sweet for a change. Included within that brevity is my message to the insane malefactors creating misery and mayhem is simple; repent from your malevolent ways and make a better world for everyone and everything. It really isn’t difficult.
“I hope that in this year to come, you make mistakes. Because if you are making mistakes…you’re Doing Something” – Neil Gaiman (1960‑)
This Month at CRAVE Guitars…
Believe it or not, there hasn’t been a dedicated article covering ‘what’s new’ at CRAVE Guitars for nearly five years, since, ‘August 2020 – Even More Whazzup at CRAVE Guitars’. How did that happen? That post was immediately prior to ‘the hiatus’ (September 2020 to August 2023).
There was a sub‑section, part of a larger article, called, ‘New’ Old Gear’ at the end of 2023 in the article, ‘December 2023 – CRAVE Guitars: Three Years in Review’ but it was only a snapshot at the time and covered acquisitions over ‘the hiatus’.
While vintage guitar gear is, by definition, the antithesis of ‘new’, this month’s content is all about the anticipation and discovery of finding fascinating ‘new’ old things. The vintage items covered herein may be decades old but they are ‘new’ to CRAVE Guitars and they change the overall dynamic of the ‘collection’. Plenty of images and links this month. No AI at all, anywhere.
“Step through new doors. The majority of the time there’s something fantastic on the other side” – Oprah Winfrey (1954‑)
So… even though vintage guitar gear purchases have slowed down considerably over the last couple of years (as regular readers will know, due to fund and space limitations) it seems long overdue to bring things up‑to‑date.
This month’s ‘quotes of wisdom’ are relevant to the notion of new experiences in life and breaking away from old, possibly restrictive, practices. Bring it on.
“You never know what you can do until you try, and very few try unless they have to” – C.S. Lewis (1898‑1963)
New Members of the CRAVE Guitars Family 2025‑2026 (15)
Included in this article are CRAVE Guitars’ purchases since the start of 2025 to‑date.
Guitars and basses generally cost a lot of money and take up a lot of real estate, so given practical limitations, guitar/bass purchases have been restricted to just two guitars and one bass.
Vintage amplifiers are also space hungry and also tend to cost a lot. Given that CRAVE Amps are a lower priority, none have been acquired recently.
Effect pedals are considerably cheaper and take up little space, so stomp box arrivals have been more abundant. In contrast to other parts of CRAVE Guitars, there has been a significant ‘investment’ in CRAVE Effects over the last 12 months.
For more in‑depth information about each of the instruments and effects, follow the links after each summary to take you to a full feature page on the web site (each opens in a new browser tab).
“I’m always doing things I can’t do. That’s how I get to do them” – Pablo Picasso (1881‑1973)
Vintage Guitars/Basses (3):
Just three vintage guitar and bass acquisitions over the past couple of years. Scant quantity, thankfully, does not equate to compromised quality.
1966 Fender Electric XII (+ case) – This particular guitar was the focus of CRAVE Guitars’ article of June 2025, ‘Challenging Vintage Guitar Snobbery: A Cautionary Tale’. Why? I have tried to avoid refinished guitars but the opportunity to pick up a vintage Fender Electric XII at a price I could afford made me re‑evaluate my view on the practice. It arrived without a case and, because the Electric XII has unique proportions, tracking down a case specifically made to fit it was a nightmare, let alone an original 1966 Fender case. Eventually, I found a dedicated case; not vintage but it provides essential protection. The XII may have been refinished but it is still a very cool guitar.
Article: June 2025 – Challenging Vintage Guitar Snobbery: A Cautionary Tale
Feature – 1966 Fender Electric XII
1984 Guild X‑79 Skyhawk (+ case) – I had been looking for cool Guild guitars for a while now, hoping to find a good S‑300 or S‑100. In 2025, my son and I attended a heavy metal gig. That acted as a catalyst to look for a vintage ‘Made in USA’ Guild Skyhawk and, fortunately, this one came along. It is very characteristic of the ‘extreme’ art of guitar manufacturing during the 1980s. The original case was too far past its sell‑by date, so a similar vintage‑correct case was found to keep it safe (it’s another guitar with unique proportions). The Guild Skyhawk is very distinctive and a very cool under‑the‑radar ‘metal’ axe and a great addition to CRAVE Guitars.
Feature – 1984 Guild X‑79 Skyhawk
1983 Kramer ‘The Duke’ Deluxe Bass – I just missed out on a rather sweet Kramer 450B bass with its distinctive aluminium neck and ‘tuning fork’ headstock, so it was while I was searching for Kramer instruments that I came across this interesting instrument, characterising a trend in the 1980s for compact, portable headless basses. At first glance, it might be mistaken for a Steinberger bass but it is actually quite different. The ‘Made in USA’ Kramer The Duke may not be a ‘classic’ but it is a very good vintage bass guitar, very unusual in all respects and quite a relative vintage bargain, which makes it all the better for CRAVE Basses. Cool.
Feature – 1983 Kramer ‘The Duke’ Deluxe Bass
“Do one thing every day that scares you” – Eleanor Roosevelt (1884‑1962)
Vintage Effect Pedals (12):
Back in October 2025, the CRAVE article, ‘Vintage Guitar Gear Collections Within a Collection: Part II – CRAVE Effects’ got me thinking about focusing on a brand and its models, rather than the usual diverse way of doing things. Actively creating a ‘collection within a collection’ from scratch is a completely new approach for CRAVE Effects. That is why there are a dozen pedals from only two American brands. To revisit that article, follow the link below (opens in a new browser tab).
Article: October 2025 – Vintage Guitar Gear Collections Within A Collection: Part II – CRAVE Effects
This alternative methodology led directly to buying a number of DOD FX series effect pedals in a buying spree. Previously, CRAVE Effects only had the glorious ‘large box’ DOD Analog Delay 680. DOD was always a reliable budget American brand, releasing large numbers of pedals at realistic prices between 1973 and 1996. Some DOD FX series pedals (1982‑1996) were better than others and this is evident in the initial trawl. I have a feeling that there may be more to come.
1987 DOD FX10 Bi‑Fet Preamp – One of those behind‑the‑scenes pedals that do an awful lot without sounding like it. Originally conceived to boost passive acoustic/electro‑acoustic pickups, the FX10 was widely adopted by guitarists and bass players to boost, balance or buffer pedal boards and/or long cable runs, something it does rather well. While not producing distortion in itself, it can be used to overdrive inputs of other pedals/amplifiers. The FX10 was often used as an always‑on pedal.
Feature – 1987 DOD FX10 Bi‑Fet Preamp
1991 DOD FX17 Wah-Volume Controller Pedal (+PSU) – Very few people even know of the existence of the FX17. It is nothing like any other DOD pedal or wah‑wah, volume pedal or voltage controller. No pots. No inductors. Clever active electronics. Yup, the FX17 was innovative and, to be honest, it is an exemplary piece of kit that should be more broadly accepted. It can be a bit fiddly to use but it is worth the effort. Its technology hasn’t (to my knowledge) been used since by DOD or anyone else.
Feature – 1991 DOD FX17 Wah-Volume Controller Pedal
1995 DOD FX25 Envelope Filter – The FX25 is another of DOD’s better pedals. It isn’t necessarily refined but it is effective at producing cool funky, skanky auto‑wah effects. It may also not be the most versatile but its simplicity allows one to focus on playing rather than knob twiddling. It doesn’t shout from the roof tops but neither does it hide its light under a bushel (NB. an idiom from the book of Matthew in the New Testament of the Christian Bible).
Feature – 1995 DOD FX25 Envelope Filter
1990 DOD FX50‑B Overdrive Plus – An overdrive pedal based on its short‑lived predecessors, the DOD Overdrive Preamp 250 and the DOD FX50. While seeming to be a standard overdrive pedal, the ‘Drive’ control features an integral ‘Boost’ function that pushes it clearly into dirty distortion territory, giving it a punchy range of gritty sounds that other overdrive pedals might struggle to achieve. Perhaps it’s not the best overdrive effect out there (Ibanez Tube Screamer?) but some credible crunchy blues/rock tones can be dialled in easily.
Feature – 1995 DOD FX50‑B Overdrive Plus
1992 DOD FX52 Classic Fuzz – A relatively understated fuzz pedal from DOD. The intention was to emulate the ‘classic’ fuzzy sounds of British germanium powered effects like the Tone Bender or Fuzz Face. While it doesn’t respond to touch as well as the best, it does produce some nice fuzzy distortion. Not an all‑out mega fuzz fest like the best of the breed (Electro‑Harmonix Big Muff π?) but OK enough, especially with the integral ‘Boost’ on the ‘Fuzz’ control to give it some nicely sustaining bite.
Feature – 1992 DOD FX52 Classic Fuzz
1991 DOD FX54 Attacker – The name on the box doesn’t tell you what this effect does. It combines a simple compressor with a distortion effect. OK, so it isn’t the most flexible of compressors or the most distinctive of overdrives but the combination of the two is relatively unusual and it does a credible job at sounding different from the offerings of other manufacturers. The FX54 also features the same ‘Boost’ function as some other DOD pedals (see above). Maybe it is not a cultural icon by any means but a good pedal choice for experimental noise rock and out‑there contemporary psych.
Feature – 1991 DOD FX54 Attacker
1988 DOD FX56 American Metal – The FX56 is possibly the best DOD FX series for heavy/hard rock distortion. This is a bit of a brute. Subtlety isn’t its strong point. Unlike other distortion pedals from DOD, it doesn’t feature the ‘Boost’ on the distortion control. Instead, it was the first DOD pedal to feature a ‘Presence’ control to provide treble boost. The FX56 spawned two other distortion variations on a theme, the FX57 Hard Rock Distortion and the FX58 Metal Maniac. Very 1980s MTV ‘hair metal’ and all the better for it. Good one.
Feature – 1988 DOD FX56 American Metal
1988 DOD FX65 Stereo Chorus – Late 1980s and early 1990s recordings were saturated with chorus effects. Chorus was trendy and everywhere. Originally designed to produce a sound akin to a 12‑string from a 6‑sting guitar or to emulate a rotating Leslie speaker cabinet. Chorus works by adding a small delay and a slight detune, making for a distinct shimmery sound that we recognise today as the chorus effect. The FX65 does a reasonable job amongst a sea of other chorus pedals out there but it doesn’t really stand out from a big crowd. Good but not great.
Feature – 1988 DOD FX65 Stereo Chorus
1988 DOD FX80‑B Compressor Sustainer – In my opinion, the FX80‑B was the real let‑down of the FX Series pedals acquired so far. To my admittedly jaundiced ears, it doesn’t seem to do very much at all compared to competitor compressors like the MXR Dyna Comp. Yes, it boosts the whole signal but it misses the point of boosting a weak signal and limiting a strong signal to even out a guitar’s ADS (Attack, Decay, Sustain) envelope or to provide a blooming lasting sustain trail. I was so disappointed with the first example, thinking that it may be faulty, I bought a second and it was the same. Disappointing DOD. Could and should have done better.
Feature – 1988 DOD FX80 B Compressor Sustainer
This period has also been one of ‘completing the set’ of MXR compact effect pedals. That doesn’t mean it is a comprehensive collection of all the multiple variants. Rather it is representative of the MXR catalogue during the 1970s and 1980s.
1980 MXR Micro Chorus – A diminutive little yellow block with just a single control and a footswitch, following the approach that MXR took with the iconic Phase 45 and Phase 90. Sometimes less is more and MXR proved that point with an effective mono chorus effect in a straightforward package. OK, so it isn’t hugely flexible but there is the large box MXR Stereo Chorus to fulfil that role. In a flooded chorus effect market during the 1980s, the MXR Micro Chorus made a credible and popular contribution.
Feature – 1980 MXR Micro Chorus
1975 MXR Noise Gate Line Driver – Another of those behind‑the‑scenes pedals that does its job quietly and effectively but doesn’t make its presence too intrusive. Used last in a signal chain, it is intended to reduce background noise and hum, common in high gain environments. Unusually for a stomp box, it also has a low impedance XLR output for Direct Input (DI) into stage/studio mixing desks. The ‘Threshold’ control is used to eliminate most of the unwanted noise without adversely affecting the musical signal. This example is a very early, rare ‘Bud’ box model, with a hand‑wired circuit and the spidery ‘script logo’.
Feature – 1975 MXR Noise Gate Line Driver
1977 MXR Phase 90 (‘Block Logo’) – A ‘contrast and compare’ pedal for CRAVE Effects. It is a complement to the existing 1977 MXR Phase 90 (‘Script Logo’). Both were made in the same year, both have the same circuitry. The only difference is the cosmetic screen printing on the front of the pedal. Yet, one is more highly in demand and attracts much higher values on the vintage effect pedal market. Why? They are effectively the same great phase pedal with distinctive and discrete aesthetics. You may have seen the ‘script logo’ stomp box before but both are shown here for comparison.
Feature – 1977 MXR Phase 90 (‘Script Logo’)
Feature – 1977 MXR Phase 90 (‘Block Logo’)
There you go. Possibly not the most exciting haul of vintage guitar gear purchases. However, they do help to fill out CRAVE Guitars’ ‘collection’ and to provide a bit more diversity.
“I’m always moving forward and trying new things” – Robert Redford (1936‑2025)
Final Thoughts About Recent New In at CRAVE Guitars
I would much rather have been getting some lovely vintage guitars and basses. Regrettably, I had to miss out on some very appealing vintage instruments over the last two years, as well as a couple of very desirable vintage valve amps. I really do hope to get back to what really matters at some point in the future. I am not downplaying the effect pedals, all of which are an integral part of the vintage guitar gear landscape.
Specifically on effect pedals, the quest goes on. I have a hunch that there are a few more DOD FX series pedals to find while they are affordable and before the ‘collecterati’ discover them and drive the price out of reach of enthusiasts. It’s already starting, so the fuse is already burning.
“Unless you try to do something beyond what you have already mastered, you will never grow” – Ralph Waldo Emerson (1802‑1882)
As mentioned previously, the arbitrary cut off of year of 1989 has been relaxed for effect pedals with the most recent addition dating to 1995. CRAVE Guitars currently has a couple of newer guitars and several effect pedals that date to the 1990s, which may make an appearance in due course if the cut‑off is extended to 1999 – the end of the 20th Century seems a clear enough ‘vintage’ boundary.
For the first time, the number of effect pedals exceeds the number of vintage guitars/basses. This doesn’t really matter, it isn’t a competition.
“We keep moving forward, opening new doors, and doing new things, because we’re curious and curiosity keeps leading us down new paths” – Walt Disney (1901‑1966)
Strategic Positioning of CRAVE Guitars
Having reflected on things generally, I don’t think that there is anyone else doing anything out there quite like CRAVE Guitars/Basses/Effects/Amps, which is encouraging. So perhaps a discrete niche has been created after all. Yay! Time to build on it.
The first tangible evidence of a slight incremental change is a refreshed CRAVE Guitars’ logo and avatar, featuring a new‑look stylised faded American flag behind the CR ‘body’ of the guitar part of the logo. I haven’t decided yet whether it is a short‑term ‘special edition’ logo or whether it might become permanent. I like it, although it will take some getting used to after a decade of the clean, plain logo. The high‑contrast logos will still be retained for use where it matters. There may be other variants in the future – watch this space.
I remain concerned that CRAVE Guitars is currently in a bit of a limbo (thankfully not purgatory) where it is what it is and there is only so much one can squeeze out of a static showcase. In order to become something exceptional, it needs to be bigger and more diverse. It isn’t a lack of ambition or enthusiasm on my part, just the real world constraints of time, space and money.
Rising price pressures on the classic ‘golden age’ (pre‑1965) are such that any increase in guitar numbers is likely to be focusing on newer vintage guitars, now that late 1960s and early 1970s guitars have also caught the attention of the heinous and rapacious ‘collecterati’, who prioritise financial ‘return on investment’ over musical integrity. For those who have been part of the CRAVE Guitars’ journey, it gives me no pleasure to report that ‘I told you so’. There is plenty of great guitar gear in the 1980s and early 1990s, which may add to the pressure to flex the arbitrary 1989 cut‑off for instruments and amps as well as effect pedals.
“Life is trying things to see if they work” – Ray Bradbury (1920‑2012)
As every guitar player who experiences G.A.S. (Guitar Acquisition Syndrome), CRAVE Guitars has an extensive ‘Most Wanted’ list of guitars, basses, effects and amps. It grows faster than purchases. At what point this obsession becomes excessive, CRAVE Guitars has to determine. I suspect that there will always be ‘more’ stuff to add to the ‘collection’. Hopefully there will be plenty more to come over the next few months/years.
Shifting the focus a bit, I have no current plans to monetize the enterprise, so there will be no advertising (another anathema) to obscure the content. CRAVE Guitars will most likely remain a modest not‑for‑profit showcase (or whatever else it might be). I am a firm believer that, unless there are unavoidable imperatives, organic development and incremental growth are probably the sensible strategy. It isn’t quick or exciting but it makes for a good strategic fit with my personal perspective on life, the universe and everything as well as my unending quest for uncovering the secret of 42 (thanks again to the awesome Mr. Douglas Adams).
“If we cannot find our account in one world we shall in another. It is a great pleasure to see and do new things” – Voltaire (1694‑1778)
CRAVE Guitars’ ‘Album of the Month’
A double (or should that be dubble) dose of dubby electronica trippiness for you this month. In the 2010s, British electronica duo, Alex Paterson and Jimmy Cauty (The Orb), linked up with Jamaican dub reggae legend, Lee “Scratch” Perry to explore what ‘dub’ means from both perspectives. The result was a pair of albums released a year apart. They are two separate albums but I prefer to think about them as a complementary set of tracks.
The Orb – The Orbserver In The Star House (2012) & The Orb – More Tales From The Orbservatory (2013): The best thing to do here, I reckon, is not to approach these albums from a critical listening point of view. That simply spoils the enjoyment to be found in the resulting soundscapes. Also, it is not a good idea to approach these albums purely from either The Orb’s or Lee Perry’s perspective. The blurring of dub electronica reggae tropes is what matters here. There are 22 tracks covering 105 minutes overall. Perry had largely lost his marbles and his vocals are a typical rambling stream of consciousness, so I tend to think of his voice as an instrument supplementing the instrumental backing tracks. Taking the albums as an immersive musical experience allows the chilled out listener to wallow in the laid back downtempo reggae electronic dub vibes. Groovy baby!
OK, so they may not be either The Orb’s or Lee Perry’s best albums. However, that’s kinda not the point. CRAVE Guitars’ ‘Album of the Month’ selections aren’t intended to be ‘the best’ of anything. Rather they are things that I enjoy listening to at the time. I am usually unimpressed by collaborations or albums featuring a plethora of guest artists. On this occasion though, two offbeat artists combining to push the boundaries of what either artist would do on their own has resulted in something interesting (for once). At least that’s my take on the matter. Critics frequently state that both artists were past their sell‑by date by 2012/2013 and the result of such an alliance was unmemorable (true) and nothing special (debateable). That’s their view and they are entitled to it. I disagree, as I’m entitled to.
BELIEVE IN MUSIC!
“Make your heart bleed! Put your soul into that damn thing. And try new things” – Dimebag Darrell (1966‑2004)
Tailpiece
There you go, back to what CRAVE Guitars/Basses/Effects/Amps is really all about. Admittedly, it feels good to focus on factual vintage guitar gear again after a number of recent fictional diversions (‘The Distortion Diaries’ and ‘The CRAVEman’). I hope you enjoyed it. Let’s hope that there is more fascinating vintage gear to come in due course. In the meantime, it’s onto the next article, whatever that might be. Watch this space…
“Well I think any author or musician is anxious to have legitimate sales of their products, partly so they’re rewarded for their success, partly so they can go on and do new things” – Bill Gates (1955‑)
Truth, peace, love, and guitar music be with you always. The CRAVEman, signing off for now. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Your imagination is infinite, boundless and unconstrained. You’ve just forgotten how to use it”
© 2026 CRAVE Guitars – Love Vintage Guitars.
