April 2025 – An A‑Z of Vintage Guitar Gear: in 150 Snippets

Prelude

ALL PRESENT AND CORRECT, SIR, YES SIR! Here we are once again dear friends, acquaintances and anyone else who wishes to explore the Any‑Zany world of vintage gear. Spring is here folks and time to enjoy the freshness of rejuvenated nature accompanied by a suitable musical backdrop. It is a wonderful time of the year, in the northern hemisphere at least. I’ll get my monthly plea for a civilised society in our far too uncivilised world out of the way now. Even the notion of armed (or economic or social) conflict of any kind is futile and archaic in the 21st Century. Harmony, not discord, is the key to a flourishing future and it is achievable should we care enough and value it enough. What’s wrong with a bit of peace & love? Goodness knows we need it.

After the last three articles referencing Far Eastern influences, you may be relieved to know that that is not the focus of this month’s masterpiece (Ed: conceited or what?). I started out on this article thinking that it would be fairly straightforward. By the end, I was in the ‘what on Earth was I thinking?’ frame of mind. If I want to make space and time for writing ‘The Distortion Diaries’, this really is NOT the way to go about it. When will I learn? Well, it’s done now and time to move onto the next ‘big’ thang.


A CRAVE Guitars A‑Z of Vintage Guitar Gear

Looking back over the 90‑odd monthly articles so far, I was quite surprised I haven’t tried this particular exercise or something like it before now. This month is definitely one for the list‑o‑philes out there. For all you list‑o‑phobes, you might want to sit this one out.

The following narrative is an A‑Z that covers guitar gear including guitars, basses, amps, effects, accessories, etc. In order to give enough credence to many notable names, the A‑Z comprises subjects now associated with the vintage market and the main focus is on names with a clear historical component. There could have been many more but a line had to be drawn somewhere and it ended up a conveniently rounded 150.

For the author’s fragile sanity, the exercise is specifically about guitar‑related stuff. If I had gone for a looser definition or a wider scope for musical industry, instruments, equipment and accessories, it would have proved to be unmanageably massive.

Some of these names will be familiar household names while others are going to be somewhat esoteric. Some are companies, while others are products – it’s a bit mix and match but the rationale will hopefully become clear. It is not intended to be exhaustively comprehensive and I will undoubtedly have missed some important names that readers will pick up on and no doubt berate me for not including them. However, it is MY list and I’m sticking to it, although I apologise to anyone I may have omitted or misrepresented (easy to do with such a large number of précis).

There are plenty of notable industry names not included below, such as Ashdown, Blackstar, Eastman, Eastwood, Faith, Fractal, Kemper, Line 6, Luna, Manson Guitarworks, Matamp and Suhr among many, many, many more. The focus here is primarily on producers and products. Distributors and retailers are generally not listed, including names like Chandler Music, Gruhn Guitars, Macari, Rose Morris, Sam Ash, Guitar Center, PMT, Sweetwater, Thomann, Gear4Music, etc. Some key people are included as contributors to guitar gear, rather than in their own right, such as Robert Moog and Larry Fishman. Also pro studio gear tends not make the cut here. Not everything can make the list!

The volume of available information means that the descriptions here have to be very (and sometimes overly) brief, resulting in a lot of detail being left out skewing balance. However, the A‑Z may provide an interesting launching pad for further exploration and/or investigation should you so desire. Hey, I’m not going to do everything for you!

One thing I discovered (or rather became increasingly aware of, having understood it intuitively beforehand) during the research for this article is that the global music industry has been markedly incestuous and inbred over the last 150 years or so. The industry’s relationship status could probably best be described as, ‘it’s complicated’. There has been a great deal of to‑ing and fro‑ing, buyouts, mergers, sell‑offs, liquidations, shake outs, bankruptcies, relaunches, revivals and complex interdependencies between the various players. Trying to make sense of the numerous combinations and permutations in a consistent and coherent way made my head hurt. A lot.

Due to the nature of the subject matter and the work involved, there aren’t any words‑of‑wisdom quotes/idioms or many illustrative images this month. Horses for courses and all that. I apologise that this isn’t a very ‘pretty’ blog article.

Wherever possible, I have relied on my own resources built up over many years. While I have not plagiarised content from online sources, I have relied on generalised sources such as Wikipedia, specific sources such as company/brand web sites, as well as details from various books and other publications to inform the A‑Z. I would not have been able to achieve the significant amount of information herein without seeking corroborative cross‑references as part of the research. My thanks go out to those sources, which have been of significant assistance. It probably goes without saying that there is no end of ‘information’ on all of this should you wish to delve into the endless rabbit warren that is the hinternet thingummyjig.

There was, however, a great deal of unreliable, conflicting and/or inaccurate information making collation challenging. There is, therefore, despite best endeavours, a risk that the lack of definitive facts, especially relating to dates and individuals, may have made its way into the narrative. If that is the case, I apologise pre‑emptively. For that reason alone, I do not recommend using this as a source of irrefutable factual information. It is, as always, only for entertainment and broad information. The following is pretty heavy going and may stray into nerdy nirvana. Are you sitting comfortably?

Without further ado, it’s time to get analytically and amazingly alphabetic. Following convention, we start with…


A – A Stands for…

AER

AER (Audio Electric Research) was founded in 1992 by Udo Rösner, Michael Eisenmann and Susanne Janz in the the Ruhr area of Germany. As a relative newcomer, AER has specialised in developing and manufacturing amplifiers for acoustic instruments, an under‑represented field at the time. Their slogan is, ‘the acoustic people’.

Airline

Airline Guitars was a brand used by American mail order company Montgomery Ward on a range of electric and acoustic guitars between 1958 and 1968. Like their competitor, Sears, Montgomery Ward sourced instruments from the likes of Valco, Kay and Harmony. The Airline name was also used on a range of amplifiers manufactured by Valco and Danelectro during the same period. Eastwood Guitars purchased rights to the Airline brand in the early 2000s and is still used for retro designed guitars as of 2025.

Akai

Akai Electric Company Ltd. was founded by Masukichi and Saburo Akai in Tokyo in 1946. Akai was a Japanese electronics manufacturer for many years. In the 1980s, Akai Professional focused on studio production and recording equipment and stage audio gear. The original Akai business ceased production in 2000, although Akai Professional continued manufacturing a wide range of equipment, including synthesisers.

Alembic

Alembic was founded in 1969 by Owsley Stanley (1935‑2011) in Novato, California. Alembic was, and still is, an American manufacturer of high‑end basses and guitars, Alembic was an innovator in premium bass instruments including 5‑string and graphite necks. Alembic basses have been favoured by artists such as Jack Casady, Stanley Clarke and Mark King.

Alvarez

The American Alvarez guitar brand was created in 1965 by retailer Gene Kornblum and luthier Kazuo Yairi, based in St. Louis, Missouri. The firm focused on steel‑string acoustic guitars manufactured in Japan and imported into the US. Alvarez is a private company under the ownership of St. Louis Music as of 2025.

Ampeg

The American company that became Ampeg was founded in 1946 by Everett Hull and Stanley Michaels in Linden, New Jersey. Ampeg is an abbreviation of ‘AMlified PEG’, a transducer pickup for upright acoustic basses. Ampeg’s main focus over decades has been to specialise in bass amplifiers, although it has diversified into guitar amps as well. Like many other American manufacturers, it was sold in the mid‑1960s in order to survive. Ampeg is now a brand owned by Japanese giant, Yamaha.

Aria

Aria Guitars Co. was founded in 1956 by Shiro Arai (1930‑2019) in Nagoya, Japan. Initially, Aria was a musical instrument retailer. In 1964, Aria started manufacturing acoustic guitars and, from 1966, electric guitars and basses. Aria made its name during the 1970s and changed its name to Aria Pro II in 1975. Aria currently also owns Pignose amps (see below).

Audiovox

The original Audiovox Manufacturing Co. was founded by musician and inventor, Paul Tutmarc (1896‑1972). Tutmarc was famous for the introduction of the Audiovox Model 736 Bass Fiddle – the precursor to the fretted bass guitar – in 1936. Not to be confused with another consumer electronics company bearing the same name, founded in 1960, based in Orlando, Florida.


 B – B Stands for…

B.C. Rich

B.C. Rich was founded by Bernardo Chavez Rico (1941‑1999) in 1974 in LA, California. The American company is famous for manufacturing acoustic and electric guitars, and basses. B.C. Rich guitars became known for radical guitar designs that became popular with heavy metal bands, particularly during the 1980s. Budget B.C. Rich guitars are made in Asia, while high‑end boutique instruments are made in small numbers in the US. After the founder’s death in 1999, the brand changed ownership several times before returning to private ownership in 2019.

Bigsby

Bigsby was the brainchild of innovator Paul Bigsby (1899‑1968) who started building bespoke guitars for professional artists like Merle Travis and Chet Atkins in Scottsdale, Arizona from 1946. Bigsby is best known for its worldwide industry standard vibrato tailpieces used by many other brands often under licensing agreements. Bigsby sold the company to Gibson president, Ted McCarty in 1966 and it was sold again to Fender in 2019.

Binson

The Binson Amplifier HiFi Company was founded by engineer, Bonfiglio Bini in Milan in the mid‑1940s. The company is best known for its legendary portable echo and reverberation effect, the Binson Echorec introduced in 1953/1954. Uniquely, the Echorec used a magnetic disc, rather than tape loop, to record and replay the original signal. The company ceased production in 1986. The Binson Echorec name has since been revived by guitar effect company T‑Rex.

Bogner

Bogner Amplification was founded in 1989 by Reinhold Bogner in LA, California. Bogner is an American manufacturer of guitar amps, speaker cabinets and effect pedals. The company started out making boutique amps based on modified Fender and Marshall amps before moving into mainstream production with three discrete amp lines.

BOSS

BOSS is a division of the Roland Corporation that was formed in 1972 in Osaka, Japan. BOSS focuses mainly on the manufacture of compact guitar and bass effect pedals, as well as modern multi‑effect units and amplifiers. The company started making its familiar compact BOSS effect pedals in 1977, first in Japan until c.1990 and then in Taiwan and latterly Malaysia. BOSS has become one of the biggest names in guitar and bass effects.

Burns

Burns Guitars London is a manufacturer of electric guitars and basses, founded in 1959 by Alice Farrell and Jim Burns (1925‑1998) in London, England. After a period of success during the 1960s, the Baldwin Piano Company acquired the business and the original Burns guitar line ceased production in 1970, although Jim Burns continued to make guitars independently. A range of Burns‑branded guitars re‑appeared in 1992 with guitars made in the Far East.

Buzz Feiten

Howard ‘Buzz’ Feiten II (1948‑) is a musician and luthier notable for patenting a unique tuning system for guitars in 1992. The Buzz Feiten Tuning System (BFTS) for fretted instruments is intended to correct inherent intonation issues by replacing a guitar’s standard fingerboard nut with a specialised compensated version. In 2012, Buzz Feiten Guitars was formed, renamed Buzz Feiten Guitar Research in 2018.


C – C Stands for…

Carlsboro

Carlsbro is a guitar amplifier company, founded in 1959 by Stuart and Sheila Mercer in Nottingham, England. It is one of the oldest British guitar amp makers. In 2002, production was shifted overseas and in 2010 the company was acquired by the Chinese Soundking Group.

Carvin (Kiesel)

The American Carvin Corporation was founded in 1946 by Lowell Kiesel (1915‑2009) based in San Diego, California. Carvin guitars and basses were popular with rock and metal guitarists during the 1970s and 1980s. After Kiesel’s death, the company was split into Kiesel Guitars and Carvin Corporation, the latter mainly covering audio equipment.

Charvel

Charvel is an American guitar company founded in 1974 by Wayne Charvel in Azusa, California. Charvel sold the company to Grover Jackson (of Jackson Guitars) in 1978. Charvel guitars were popular with rock and metal guitarists during the 1980s. After several changes, both Charvel and Jackson brands were acquired by Fender in 2002.

Collings

The American Collings Guitars company was founded in 1973 by Bill Collings (1948‑2017) in Austin, Texas. Collings manufacture a wide range of high quality acoustic, arch top and electric guitars, as well as other fretted instruments including production of quality mandolins and ukuleles.

Colorsound

Guitar effect brand Colorsound was formed in 1967 by brothers Larry and Joe Macari in London, England. Colorsound pedals were manufactured by another Macari‑owned company, Sola Sound. Colorsound is probably best known for the iconic Tone Bender fuzz pedal, made famous by rock guitarists in the 1960s and 1970s.

Columbus

Columbus was a brand name used by the American importer Elger Guitars on entry level copies of Gibson, Fender and Rickenbacker guitars. The flagrant copies were made in the Far East by the Japanese manufacturer, Hoshino Gakki Gen. Elger used the Ibanez name in the US and Columbus in the UK.

Coral

In 1967, the giant MCA company acquired guitar manufacturer Danelectro (see below) and introduced the short‑lived Coral brand with instruments produced in Danelectro’s Neptune City, New Jersey facility between 1967 and 1969. The brand is best remembered for its distinctive instruments like the Coral Bellzouki and the Coral Sitar.

CSL

The CSL brand name was used by Charles Summerfield Limited, based in Gateshead, England. During the 1970s, CSL distributed guitars in the UK that were manufactured by FujiGen Gakki in Matsumoto, Japan. At the time, FujiGen was known for supplying guitars for other brands including Ibanez, Fender, Yamaha and Greco. CSL guitars were mainly blatant ‘lawsuit era’ copies of Fender, Gibson and Rickenbacker models. CSL ceased trading in 1993.


D – D Stands for…

D’Angelico

D’Angelico was founded by master luthier John D’Angelico (1905‑1964) in 1932, in Manhattan, New York. D’Angelico built a strong reputation for hand built archtop guitars created in small numbers during the 1930s. Original instruments are now highly sought after. After D’Angelico’s death, the business (but not the name) was bought by former apprentice Jimmy D’Aquisto (see below). The D’Angelico brand was re‑launched in 1999 and continues as of 2025 with a range of American and Far Eastern models.

D’Aquisto

James L. D’Aquisto (1935‑1995) was an American luthier who served as an apprentice to John D’Angelico from 1952 until the latter’s death in 1964. D’Aquisto concentrated on building and repairing archtop guitars under his own name. As he predicted, he died at the same age as his mentor (59). Fender currently manufactures a range of guitars using the D’Aquisto name.

Dallas Arbiter

John E. Dallas & Sons was formed in 1875 in London, England making and selling musical instruments. Dallas imported musical instruments from Europe and the USA, including brands such as Kay, Harmony and Vega. Separately, Sound City was formed in London by Ivor Arbiter, another industry bigwig, which specialised in guitars and amplifiers. Around 1965, Dallas Music acquired the Arbiter‑Western company thereby creating Dallas Arbiter, which produced drums, guitars and basses under the Hayman brand. Dallas Arbiter is, though, best known for the iconic Fuzz Face effect pedal, manufactured from c.1966 to 1975 (and which has been reissued many times since). Dallas Arbiter went out of business in 1975.

Dan Armstrong

Dan Kent Armstrong (1934‑2004) was an American guitarist and luthier born in Pittsburgh, Pennsylvania. After opening his own business in 1965, Armstrong designed an innovative range of guitars for Ampeg in 1968 using bodies made from clear Plexiglas (a.k.a. Lucite), a synthetic polymer. The instruments also used interchangeable pickups designed by colleague Bill Lawrence. In the 1970s, Armstrong moved to England and designed a new range of traditional guitars, basses, effects and amps. In 1998, a Plexiglas Dan Armstrong guitar was reissued, made in Japan.

Danelectro

American company Danelectro was founded in 1947 by Nathan Daniel (1912‑1994) in Neptune City, New Jersey. ‘Dano’ made distinctive semi‑hollow guitar and bass bodies made from poplar or plywood frames faced with Masonite front and back and with vinyl tape binding. The instruments also used characteristic ‘lipstick’ single coil pickups and ‘coke bottle’ headstocks. MCA bought Danelectro in 1966 and ceased guitar production in 1969. The brand was revived in the 1990s focusing intermittently on guitars/basses, effect pedals and amps. Danelectro is currently owned by Evets Corporation.

DeArmond

Harold DeArmond (1906‑1999) was an American electrical designer who founded DeArmond Research in Toledo, Ohio to develop a magnetic guitar pickup in 1935, working with Bud Rowe, owner of Fox Electrical and Manufacturing. The first acoustic guitar pickups were manufactured in 1939. In 1940, production was consolidated as Rowe Industries. Although best known for guitar pickups, Rowe introduced a tremolo effect pedal in 1941, the first of its kind. By the time Harry DeArmond retired in 1976, his company had made over 170 different types of pickup, as well as many amplifiers and effect pedals. In c.1998, Fender acquired the rights to use the DeArmond name.

Dean

Dean Guitars was founded in 1976 by Dean Zelinsky in Chicago, Illinois. Dean originally made a variety of guitars for many famous artists. Zelinsky sold Dean in 1986, which continued in business but with little connection to the original company. Professional musician Elliott Rubinson of Armadillo Enterprises bought the business in 1997 and successfully rejuvenated the Dean Guitars brand with a range of products from Far Eastern budget models to US‑built custom shop instruments. The late guitarist Dimebag Darrell was a key endorsee.

DiMarzio

Larry DiMarzio started making guitar pickups in Staten Island, New York in the 1960s. DiMarzio became famous for manufacturing after‑market guitar pickups and stock pickups for a number of brands. DiMarzio also produces a range of accessories and merchandise. DiMarzio Inc. continues to make a wide range of products including around 200 types of guitar and bass pickups.

Dobro

Dobro Manufacturing Company was originally founded in 1928 by four Dopyera Brothers (Dobro is a conflation of DOpyera and BROthers). Dobro produced single cone acoustic resonator guitars to compete with National’s tricone resonator guitars. In 1932 Dobro merged with National to form the National‑Dobro Company. In the 1940s the business was sold to Valco (see below). In 1964, the Dopyera Brothers re‑introduced the Dobro name, which was eventually acquired by Gibson 1993 with guitars manufactured by Gibson subsidiary, Epiphone from 2012.

DOD (DigiTech)

DOD Electronics, deriving from the initials of founder David Oreste DiFrancesco, was formed in Salt Lake City, Utah in 1973. DOD, and its brand DigiTech, manufactures a wide range of popular guitar effect pedals. DOD/DigiTech was sold to Harman International around 1991 and then sold again to South Korean giant Cortek (owner of Cort Guitars) in 2018.

Dumble

Dumble Amplifiers was a one‑man‑band enterprise founded by reclusive Alexander Dumble (1944‑2022) to build no‑compromise hand‑made guitar amplifiers in very small numbers, often for wealthy celebrity artists. Dumble amplifiers have acquired legendary status amongst guitarists, particularly for his Dumble Overdrive Special. Commercially, the brand died along with its founder in 2022.

Dunlop

Dunlop Manufacturing was founded in 1965 by Scottish immigrant to the USA, entrepreneur Jim Dunlop (1936‑2019) in Benicia, California. Dunlop built the business from a humble start in his living room and garage to become one of the largest manufacturers of musical accessories and guitar effect pedals. Dunlop remains a private company as of 2025.


E – E Stands for…

EBow

The EBow is an innovative guitar accessory manufactured by Heet Sound Products in LA, California. The battery‑powered EBow (short for ‘electronic bow’) uses battery‑powered electromagnetism to vibrate a guitar string producing a sustained sound like a bowed violin or cello string. The sound contrasts with the rapid attack and decay of a plucked guitar string. Greg Heet invented the EBow in 1969, launched it commercially in 1976 and patented it in 1978. The EBow remains in production as of 2025.

Echoplex

Engineer Mike Battle designed the Echoplex tape delay effect unit in 1959, based on an earlier design by Ray Butts from the 1950s. The Echoplex was sold through Chicago Musical Instruments (CMI) and then Maestro, a distributor owned by Norlin (which also owned Gibson). The effect rapidly became an industry standard. In 1970, a solid‑state Echoplex superseded the valve‑driven unit, developed by Maestro. The Echoplex brand was purchased by Gibson in the 1990s and the Echoplex name was used on a line of digital looping delays. In 2019, Echoplex became a trademark of Dunlop Manufacturing.

EKO

EKO Guitars was founded in 1959 by Oliviero Pigini in Recanati, Italy. EKO manufactures classical guitars, 12‑string guitars, archtop guitars, electric guitars and acoustic bass guitars. During the 1960s, EKO became the largest guitar exporter in Europe and made guitars and effect pedals for other brands such as VOX. EKO remains a private company that continues to manufacture guitars as of 2025.

Electro-Harmonix

Electro-Harmonix (a.k.a. EHX) was founded in 1968 by musician Mike Matthews in New York City. EHX makes effect pedals and sells rebranded amplifier valves. During the 1970s, EHX manufactured a wide range of innovative affordable state-of-the art guitar effect pedals for guitarists and bass players. In the 1980s EHX stopped making effect pedals and focused on valves in the 1990s. At that time, EHX started producing a few effect pedals in Russia before returning to its roots from 2002 and continues to excel in the manufacture of guitar effect pedals.

Epiphone

What would become Epiphone in 1928 was founded by the family of Greek/Turkish immigrant luthier Anastasios Stathopoulo (1863‑1915) in 1873 in the Ottoman Empire. Initially a fiddle and lute maker, Epiphone became a major competitor to Gibson during the 1930s, especially in the manufacture of high quality archtop guitars. A struggling Epiphone was finally acquired by Gibson in 1957. Epiphone is best known for the Casino hollow body electric guitar because of an association with The Beatles. From the 1970s, Epiphone became a low cost offshore manufacturer of Epiphone‑branded copies of Gibson models.

Ernie Ball

Ernie Ball Inc. was founded in 1962 by American musician and entrepreneur Roland Sherwood Ball (1930‑2004) in San Luis Obispo, California. Ernie Ball is an instrument and accessory company, particularly known for its guitar strings. In 1972, Ernie Ball also started producing guitars. Guitars and basses are also manufactured by Music Man, which Ernie Ball bought in 1984 and now called Ernie Ball Music Man (EBMM). Ernie Ball’s son, Sterling Ball (1955‑) is the current CEO of the company, keeping it a private family business.

ESP/LTD

ESP Company Ltd was founded in 1975 by Hisatake Shibuya (1937‑2024) in Tokyo, Japan. ESP’s main business is manufacturing electric guitars and basses, as well as an OEM supplier of parts for other companies. ESP is also parent to subsidiary brand LTD amongst others. ESP and LTD guitars have been favoured by heavy metal guitarists in particular. ESP also has had an American headquarters based in LA, California since 1993. ESP’s primary competitor is rival Japanese brand, Ibanez.

Eventide

The American Eventide Inc. was founded in 1971 by recording engineer Stephen Katz, inventor Richard Factor, and businessman Orville Greene in New York City. Eventide is best known for its extensive range of premium quality studio and guitar effect pedals using digital effect processors and Digital Signal Processor (DSP) software. Eventide is now based in Little Ferry, New Jersey.


F – F Stands for…

Fender

Fender, one of the world’s most famous and important names in guitars, basses and amplifiers was founded in 1946 by Clarence Leonidas ‘Leo’ Fender (1909­‑1991) in Fullerton, California. Leo Fender sold his business to CBS in 1965. Following a management buyout in 1985, Fender Musical Instrument Company (FMIC) once again became a private company. Fender is home to iconic instruments like the Telecaster, Stratocaster, Precision, Jazz Bass, Jaguar, Jazzmaster and amplifiers like the Twin, Deluxe, Bassman and Princeton. Fender also produces accessories and merchandise.

Fernandes

Fernandes Guitars was formed in 1972 from its predecessor, Saito Musical Instruments, founded in 1969 in Niizo, Japan. Fernandes is a Japanese company that produces electric and bass guitars, amplifiers and accessories. Fernandes has become one of the biggest guitar producers in Japan. Fernandes, though, is possibly best known for its Sustainer pickups that use electromagnetism to vibrate the guitar’s strings in a similar way to the eBow (see above). Fernandes also owns the Burny brand, known for making copies of Gibson guitars.

Floyd Rose

The Floyd Rose locking vibrato system (erroneously called a tremolo) was designed by Floyd D. Rose in 1976 and patented in 1979. The vibrato was intended to return the strings to accurate tuning despite extreme ‘dive bombing’ of a guitar bridge to change the pitch of strings. The system relies on firmly clamping the strings at both the nut and bridge. Floyd Rose vibratos became phenomenally popular, particularly with rock and heavy metal guitarists and the approach has been widely imitated and officially licensed.

Framus

Framus was founded in 1946 by Fred Wilfer in Luby, Czechoslovakia to make stringed instruments and to resettle German Bohemians expelled from Bohemia after WWII. Framus is a conflation of FRAnconian MUSical instruments. Framus became the largest guitar producer in Europe during the 1950s. Despite success, Framus went bankrupt in 1975. The brand was re‑introduced in 1995 by founder Fred Wilfer’s son as part of the German bass guitar manufacturer Warwick (see below).


G – G Stands for…

G&L

G&L Musical Instruments was founded in 1980 by George Fullerton (1923‑2009)(G), Leo Fender (L) and Dale Hyatt in Fullerton, California. G&L was the venture Leo Fender pursued after he left Music Man in 1979 and before Music Man was sold to Ernie Ball in 1984. G&L focused on continuing to innovate and evolve Leo Fender’s guitar and bass designs in a way that Fender (the company) couldn’t. After Leo Fender died in 1991, BBE Sound, Inc. took over the business.

Gibson

Gibson, one of the oldest, most famous and most important names in guitars was founded in 1894 by Orville Gibson (1856‑1918), in Kalamazoo, Michigan. Orville started off making labour‑intensive carved top guitars and mandolins. Lloyd Loar (1886‑1943) designed key jazz archtops like the L5 for Gibson in the 1920s. The ES‑150 was the first production ‘electric’ guitar in 1936. Collaborating with professional musician Les Paul (1915‑2009), Gibson introduced the Les Paul Model guitar in 1952. Company president Ted McCarty (1909‑2001), followed the Les Paul with the Explorer, Flying V, ES‑335, SG and many others. Gibson was sold by parent company CMI to Norlin in 1974 and was subsequently subject to a management buy‑out in 1986. Despite financial difficulties, Gibson remains a private company as of 2025.

Godin

Godin Guitars was founded by Robert Godin in Montreal, Quebec, Canada in 1972. Godin currently manufactures electric and acoustic guitars and basses under its own name, built in Canada, as well as other subsidiary brands like Seagull. Godin is Canada’s largest guitar business.

Gordon Smith

Gordon Smith Guitars was founded in 1974, named after its founders, Gordon Whitham and John Smith in Greater Manchester, England. Gordon Smith is a manufacturer of hand‑crafted electric guitars. The company is also Britain’s longest‑running electric guitar manufacturer. In April 2015 Gordon Smith Guitars was acquired by British firm, Auden Guitars, based in Northamptonshire, England.

Goya

Goya guitars (named after the Spanish artist) were manufactured by Levin, a company founded in 1900 by Herman Carlson Levin in Gothenburg, Sweden. In 1952, Goya introduced nylon‑strung acoustic guitars followed by steel‑string acoustic guitars in the 1960s. In 1976, the Goya brand was sold to CF Martin (see below). Production of Goya guitars suffered and Martin stopped selling Goya‑branded guitars during the 1990s.

Greco

Greco is a brand name used by the wholesaler Kanda Shokai Corporation, formed in 1948 in Japan. The company started selling Greco guitars in the mid‑1960s. In the 1970s, although not specifically targeted by Gibson, Greco became embroiled in the ‘lawsuit-era’ copy scandal. In 1982, Kanda Shokai was part of a joint venture with Fender Japan, making acoustic and electric guitars for the Japanese market. Various guitar models have used the Greco name on and off since the 1990s.

Gretsch

Gretsch was originally founded by German immigrant Friedrich Gretsch (c.1856‑1895) in 1883, located in Brooklyn, New York, USA. Gretsch focused primarily on guitars as a core business in the 1930s and the company hit their peak era from the mid‑1950s to mid‑1960s during the rock & roll boom. Gretsch was sold to Baldwin Pianos in 1967 and the family business has worked in partnership with Fender since 2002. Gretsch is probably best known for the iconic 6120 Chet Atkins hollow body guitar.

Guild

The Guild Guitar Company was founded in 1952 by professional guitarist and music retailer Avram ‘Al’ Dronge (1911‑1972) in Manhattan, New York. Guild intended to compete primarily with rivals Epiphone and Gretsch. Following expansion, Guild was sold to the Avnet Corporation in 1966, which moved production to Westerly, Rhode Island. Guild was sold again to Fender Musical Instrument Corporation (FMIC) in 1995. In 2014, Guild was acquired by Cordoba Music Group and moved yet again to Oxnard, California.

Guyatone

Guyatone was founded in 1933 by Mitsuo Matsuki in Yamanashi, Japan. Matsuki Manufacturing produced guitars under the Guya brand until 1940. In 1951 the Guyatone name was established for electric guitars and, in 1955, the first Guyatone solid-body electric guitar was introduced. In Japan, Guyatone guitars were sold using the Ibanez name. In the UK, Matsuki used the Antoria name and in the US, they used the Kent name. The Guyatone name is now owned by DeMont Guitars LLC.


H – H Stands for…

Hagström

Hagström was founded in 1925 by Albin Hagström in Älvdalen, Dalecarlia, Sweden. Hagström’s main business was accordions before they started making electric guitars in 1958 and subsequently amps. Hagström pioneered with the innovative H8 8‑string bass and also began to experiment with guitar synths. Hagström ceased production in 1983 in the face of stiff competition. The brand was revived in 2004 and now produces guitars in both Europe and the Far East.

Hamer

Hamer Guitars was founded in 1973 by Paul Hamer and Jol Dantzig in Wilmette, Illinois. Hamer became well‑known for building guitars and basses based on Gibson’s designs. In 1988, Hamer was acquired by Kaman Music Corporation (KMC), which owned Ovation guitars. In 2008, Fender bought KMC including the Ovation and Hamer brands. Fender closed down Hamer production in 2012. In 2015, Fender sold KMC again. In 2017, KMC revived the Hamer name with products imported into the US.

Harmony

The Harmony Company was founded in 1892 by Wilhelm Schultz. Sears, Roebuck & Co. purchased Harmony in 1916 for the latter’s ukulele business. By the 1950s, Harmony produced a wide range of instruments, peaking in the mid‑1960s. In 1975, the production of Harmony guitars ceased and the brand name was sold. In 2018, BandLab Technologies of Singapore revived the Harmony brand, producing guitars and amps made by Heritage (see below).

Heritage

Heritage Guitar Inc. was founded in 1985 by three former Gibson employees in Kalamazoo, Michigan. Heritage set up business in the old Gibson factory after Gibson had moved to Nashville, Tennessee in 1974. As of 2025, Heritage is a small‑scale manufacturer of guitars heavily based on Gibson’s traditional designs.

HH Electronics

HH Electronics was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England. It was a manufacturer of distinctive solid state guitar, bass and PA amps, as well as speaker cabinets. In the 1990s, HH was acquired by Laney Amplification (see below).

Hiwatt

Hylight Electronics, better known as Hiwatt, was founded in 1966 by Dave Reeves in Surrey, England. Hiwatt are best known for their guitar and bass amps. As part of the 1960s and 1970s boom in high powered amps, Hiwatt (including Sound City, see below) along with its main competitors Marshall, Orange and VOX helped to cement the ‘British sound’ of rock music, contrasting with the ‘American sound’ of Fender (and its derivatives) amps.

Höfner

Karl Höfner GmbH & Co. KG was founded in 1887 by German luthier Karl Höfner (1864‑1955) in Schönbach, Austria-Hungary (now Luby in the Czech Republic). One part of the company manufactured classical string instruments while another produced guitars and basses. After WWII, Höfner moved to West Germany, where the company thrived. Höfner became closely associated with The Beatles who were seen to use Höfner guitars and basses. In 1994, Höfner was sold to British music publisher, Boosey & Hawkes. After financial difficulties, the Höfner brand was sold to a former Höfner employee in 2004.

Hohner

Hohner Musikinstrumente GmbH & Co. KG was founded in 1857 by clock maker Matthias Hohner (1833‑1902) in Trossingen, Baden‑Württemberg, Germany. While Hohner is best known for its harmonicas, the company manufactured a wide range of musical instruments, including guitars from the 1950s until c.2015. Hohner has since returned to its roots and currently produces harmonicas, melodicas, accordions and recorder flutes.

Hondo

The Hondo guitar company was founded in 1969 by Jerry Freed and Tommy Moore. Hondo was a joint venture with the Samick Company of South Korea to manufacture entry‑level acoustic and electric guitars and basses, importing them into the USA using the Hondo name. Many of Hondo’s guitars were based on, or copies of, classic American guitar designs. The Hondo name had largely disappeared by 1989 but was revived by what is now Musicorp in 1995.

Hughes & Kettner

Hughes & Kettner was founded in 1984 by brothers Hans and Lothar Stamer in in Neunkirchen, Saarland, Germany. The company focuses on manufacturing premium level amps and innovative effect pedals. H&K as built a strong reputation with a particular focus on high‑gain amplifier technology for heavy metal and hard rock.


I – I Stands for…

Ibanez

Ibanez is a guitar brand created in 1957 in Nagoya, Aichi, Japan. Ibanez is owned by Hoshino Gakki a musical instrument manufacturer founded in 1908. Ibanez began production of guitars in 1957 and were known for copies of American guitars during the 1960s. Ibanez in particular was the target for litigation by Gibson because of trademark infringements during the 1970s. Ibanez (and other) brand guitars of the period became known as ‘lawsuit‑era’ instruments. Also in the 1970s, Hoshino Gakki licensed Maxon effect pedals for sale under the Ibanez brand.


J – J Stands for…

Jackson

Jackson Guitars was founded in 1980 by American luthier Grover Jackson in Glendora, California to manufacture electric guitars and basses. Grover Jackson had worked closely with Wayne Charvel until the latter sold the Charvel name to Jackson in 1978. During the 1980s, Jackson manufactured high-quality, US‑made, custom instruments, primarily for heavy metal guitarists including Randy Rhoads. Fender acquired both Jackson Guitars and Charvel in 2002. Low budget Jackson guitars are manufactured in the Far East. Grover Jackson is now co‑owner of independent GJ2 Guitars, based in Orange County, California.

Jen

JEN Elettronica was founded in c.1969 in Pescara, Italy. Jen’s focus was to become Europe’s biggest music OEM manufacturer including guitar effect pedals. Jen was notable for manufacturing products for VOX and Gretsch among others, as well as a line of guitar effect pedals under the JEN name. Jen is best known for making the iconic wah‑wah pedal, the ‘Cry Baby’ in the 1960s. Jen failed to trademark the Cry Baby name, so any manufacturer could use it at the time.

John Hornby Skewes (JHS)

John Hornby Skewes (JHS for short) was founded in 1965 by John & Madge Hornby Skewes in Garforth near Leeds, England. Over the years, JHS has become an international company offering thousands of products including a number of JHS proprietary brands including Fret‑King, Vintage, Encore and JHS‑branded guitar effect pedals.


K – K Stands for…

Kahler

Kahler Systems International was formed in the late 1970s by Gary Kahler. The company started out making parts for other companies such as Fender and DiMarzio. The cam‑operated Kahler vibrato (not tremolo!) was introduced in 1981, just in time for the rock and metal boom of the 1980s with its associated ‘shredding’ and ‘dive‑bombing’ guitar playing styles. Kahler’s main competitor was Floyd Rose (see above). Like Floyd Rose, the focus was on maintaining tuning stability. Unusually, Kahler also produces a bass vibrato version. When demand for vibrato systems declined in the 1990s, Kahler switched to making golf clubs but returned to manufacturing guitar hardware including the classic Kahler vibrato in 2005.

Kalamazoo

Gibson was based in Kalamazoo, Michigan until 1974. Kalamazoo was also a brand name used by Gibson for archtop and flattop acoustic guitars, lap steels, banjos, and mandolins. Kalamazoo was a low cost option that many musicians needed during the Great Depression (1929‑1939). The original short‑lived Kalamazoo brand was used between 1933 and 1942. During the 1960s, Gibson temporarily resurrected the Kalamazoo name for low-cost, beginner guitars until Gibson positioned Epiphone into that market to compete with Far Eastern competition.

Kawai

Kawai Musical Instruments Manufacturing Co Ltd was founded in 1927 by Koichi Kawai (1886‑1955) in Hamamatsu, Shizuoka, Japan. The company is best known for its pianos, electronic keyboards and synthesisers. Kawai worked for Nippon Gakki (Yamaha) before setting up his own business. Koichi’s son, Shigeru took over control of Kawai until his death in 2006. Shigeru’s son, Hirotaka Kawai now runs the family business. Kawaii also bought the Teisco brand, which manufactured a range of distinctive guitars and basses.

Kay

Kay Musical Instrument Company was founded in 1931 by Henry ‘Kay’ Kuhrmeyer in Chicago, Illinois, although previous incarnations date back to 1890. Kay produced budget and pro‑level guitars, mandolins, banjos and ukuleles from 1936. Kay migrated to electric guitars and basses from c.1955. Kay was sold in 1965 and again in 1967, this time to Valco (see below) who went bust in 1968, and then sold again in 1969. The Kay name has been used intermittently over the years, often attached to instruments imported from China.

Korg

Korg Inc. (previously Keio Electronic Laboratories) was founded in 1962 by Tsutomu Kato (1926‑2011) and Tadashi Osanai in Tokyo, Japan. Korg was and is best known for their keyboards and synthesisers from the late 1960s to the 1980s. In 1987, Yamaha took temporary control of Korg until 1992. In 1992, Korg acquired British amp maker VOX (see below).

Kramer

Kramer Guitars was founded in 1976 by Gary Kramer in Neptune, New Jersey. Gary Kramer and Travis Bean had formed the Travis Bean guitar company in 1974 shortly before Kramer formed his own company. Initially, Kramer continued to use aluminium necks on guitars and basses, improving on Travis Bean’s designs. Kramer reverted to traditional wood necks from 1981. Kramer guitars and basses became associated with the rock and metal boom of the 1980s. Kramer filed for bankruptcy in 1989. Eventually, Gibson acquired the rights to Kramer in 1997 and guitars are now manufactured by Epiphone using the Kramer name. In 2005, Gary Kramer founded the independent Gary Kramer Guitars (GKG).

Kustom

Kustom Amplification was founded in 1964 by Charles ‘Bud’ Ross in Chanute, Kansas. Kustom is a manufacturer of guitar and bass amplifiers, PA systems and accessories. Uniquely, speaker cabinets were wrapped in a sparkling car upholstery material called Naugahyde, giving them a particularly standout image. Baldwin Pianos bought Kustom in 1972 and is now owned by Hanser Music Group who keep the style and spirit of the original Kustom designs going. Founder Charles Ross went on to form effect pedal company Ross Musical (see below) in c.1972.


L – L Stands for…

Laney

Laney Amplification was founded in 1967 by musician Lyndon Laney in Birmingham, England. The British Laney brand manufactured guitar and bass amplifiers, speaker cabinets and PA systems. Laney developed from its humble beginnings in Laney’s father’s garage into a major player in the global amp market. Laney remains in business as a private company, as of 2025.

Larrivée

Jean Larrivée Guitars Inc. was founded in 1967 by Jean Larrivée in Toronto, Canada. The company moved to Vancouver in 1982 then to California in 2001. Since 1977, Larrivée has manufactured a range of premium acoustic guitars, often featuring ornate inlays. Larrivée Guitars is still in production as a family business as of 2025.

Leslie

The Leslie speaker was the invention of electronic engineer Donald Leslie. Development began in the 1930s as a means for a Hammond organ to emulate the sound of a pipe organ. Production began in 1941. The speaker comprises a variable speed rotating baffle in front of the loudspeaker(s) which modulates the sound exploiting the Doppler Effect. Leslie speakers have been used by guitarists keen to obtain the signature Leslie sound. In contemporary times, many attempts have been made to imitate the sound effect, first through analogue circuits and then by Digital Signal Processing (DSP). In 1965, Leslie sold his business to CBS who, in turn sold it to Hammond in 1980. In 1992, the Japanese Suzuki Musical Instrument Corporation bought both the Hammond and Leslie brands.

Lowden

George Lowden (1952‑) is an Irish luthier based in Bangor, County Down. He founded the eponymous company, George Lowden Guitars in 1974. Lowden’s main output comprises premium nylon and steel‑string acoustic guitars although he has also dabbled in making electric solid body guitars. In an unusual move, Lowden licenses other luthiers to build guitars using the Lowden name, especially in Japan. In 2002, Lowden introduced a more affordable range of guitars, called Avalon.


M – M Stands for…

Maccaferri

Henri Selmer Paris was a company founded in 1885 in Mantes‑la‑Ville near Paris. In 1932, Selmer worked with Italian luthier Mario Maccaferri (1900‑1995) to design what are known as ‘gypsy jazz’ acoustic guitars, famously used by virtuoso Belgian/French jazz guitarist Django Reinhardt. Maccaferri guitars have a large body with thin ladder‑braced top and squared off bouts. Early sound holes were D‑shaped while later ones were oval, with a rounded cutaway on the upper treble bout. Selmer made less than 1,000 of these guitars until production ceased in 1952.

Maestro

Gibson’s parent company, Chicago Musical Exchange (CMI) had used the Maestro name on products like the legendary Echoplex tape loop echo effect (see above). From 1962, CMI was one of the first companies to move into effect pedals using the Maestro name. They launched a number of effect pedals starting with the FZ‑1 Fuzz Tone. In 1974, Norlin acquired Gibson from CMI and the company put synthesiser pioneer, Robert Moog in charge of Maestro effects. By 1979, Norlin was struggling and ceased production of all Maestro products. In 2022, Gibson revived the Maestro name and re‑launched a new range of effect pedals.

Magnatone

The origins of Magnatone date back to the late 1930s and a company called Dickerson Musical Instrument Company in California. The business was bought by Art Duhamell in c.1946, when the name was changed to Magna Electronics Company, using the brand name Magnatone. Magna manufactured a range of electric guitars and vibrato (actually tremolo!) amplifiers produced between 1937 and the mid‑1970s. In 2013, Ted Kornblum reintroduced the Magnatone brand on a range of reissued amps.

Marshall

Marshall Amplification was founded in 1962 by drummer and retailer Jim Marshall (1923‑2012) in London, England. The British company built its formidable reputation manufacturing Marshall guitar and bass amps, and speaker cabinets, starting with the classic JTM45 amp head in 1963. The Marhsall ‘stack’ became a familiar icon of rock music from the 1970s onward. Other guitarists preferred combo amps like the Bluesbreaker. In 1965, Marshall launched a sister brand, Park which made amps until 1982. Facing stiff competition from American companies like Mesa and Soldano, Marshall explored the use of solid state, rather than valve‑based amp circuits, including hybrid versions. In 2007, some former employees of Marshall left and founded Blackstar Amplification. In 2023, Marshall was sold to Swedish company Zound Industries, majority owned by the Chinese HongShan Capital Group. Marshall was nicknamed, ‘The Father of Loud’.

Martin

C.F. Martin & Company was founded in 1833 by German immigrant Christian Frederick Martin in New York City before relocating to Nazareth, Pennsylvania in 1838. C.F. Martin was an apprentice for Johann Georg Stauffer, a famous luthier from Vienna, Austria. Following consumer demand, Martin refocused its manufacturing toward steel‑strung acoustic guitars around 1921 using many key innovations to improve the company’s already strong reputation. In 1931, Martin launched its dreadnought acoustic guitar with X‑bracing, which became a best seller and industry standard, particularly the D‑18 and D‑28 models. Pre‑WWII Martin guitars are highly sought after today. Martin has also dipped its toes into solid body electric guitars and basses, as well as strings. Martin continued to innovate including the use of composite materials from the 1990s onward. The company has been family‑owned and run throughout its entire history with the great‑great‑great‑grandson of the founder, C.F. ‘Chris’ Martin IV as current president as of 2025.

Maxon

The Japanese company, Nisshin Onpa was formed in 1965 in Tokyo Japan. Maxon was a brand name used by the company for its range of guitar effect pedals from 1969. Maxon became an OEM provider for Ibanez, producing stomp boxes using the Ibanez name, including the iconic TS‑808 Tube Screamer Pro. Nisshin Onpa also marketed pedals under its own Maxon name. Maxon stopped working with Ibanez in 2002 and Maxon continues to manufacture and market its own effect pedals.

Mesa/Boogie

Mesa Engineering was founded in 1969 by Randall Smith (1946‑) in Petaluma, California. Randall started out by hot‑rodding Fender amps in his home workshop. The Mesa/Boogie nickname derived from a comment made by Carlos Santana when demoing a Mesa‑modified Fender Princeton. The Boogie amps went through a number of generations (Marks) and in the 1990s the Boogie was supplemented by high‑gain Rectifier models. Gibson acquired Mesa Engineering from Smith in 2021.

Morley

Morley Pedals was founded in 1969 by American brothers Raymond and Marvin Lubow in LA, California superseding their previous enterprise, Tel‑Ray Electronics. The distinctively rugged Morley guitar effect pedals, particularly their wah‑wah and volume pedals using electro-optical circuitry, grew in popularity during the 1970s. Chicago‑based firm, Sound Enhancements, Inc. acquired Morley in 1989.

Mosrite

Mosrite guitars was founded in 1956 as Mosrite of California by Semie and Andy Moseley in LA, California. Semie Moseley (1935‑1992) had been an apprentice at Rickenbacker and Bigsby where he learnt his craft. Mosrite guitars were known for their radical designs and innovative features, as well as the brand’s association with surf pop/rock band The Ventures. The original Mosrite company went bankrupt in 1968. Several attempts were made to resurrect the brand over intervening decades, although without much success. Semie’s daughter, Dana Moseley is keeping the name alive.

Mu‑Tron

Musitronics Corporation (a.k.a. Mu‑Tron) was founded in 1972 by former Guild employees, Mike Beigel and Aaron Newman in Rosemont, New Jersey. Musitronics was known for manufacturing a number of high-quality guitar effect pedals including their most famous effect unit, the Mu‑Tron III envelope filter in 1972, which produced an electronic wah‑wah type sound beloved by funk guitarists. Musitronics ran into financial trouble in the late 1970s and production wasn’t resumed until 2014 when Mike Beigel founded Mu‑FX.

MXR

MXR Innovations was founded in 1972 by Keith Barr and Terry Sherwood in Rochester, New York. MXR is famous for its range of guitar effect pedals, starting with the iconic Phase 90, followed by the Distortion +, Dyna Comp and Blue Box. MXR was acquired by Dunlop Manufacturing in 1987 and continues to manufacture effect pedals using the MXR name as of 2025.

Music Man

Music Man (a.k.a. MM) was the company formed in 1974 by Leo Fender and partners 10 years after Leo sold the firm that bore his name to CBS in 1965. MM made its name with the Stingray Bass introduced in 1976. Leo Fender left Music Man in 1979 and went on to found G&L in 1980 (see above). Music Man was sold to Ernie Ball Inc. in 1984.


N – N Stands for…

National

The National String Instrument Corporation was an American guitar company founded in 1927 by entertainer George Beauchamp and luthier John Dopyera in LA, California. The company started by manufacturing banjos and then acoustic resonator guitars, an innovative instrument intended to be loud enough to be heard in a big band environment. In 1932, National merged with Dobro (see above) to form the National Dobro Company. It later came under the control of Valco (see below) until the latter went bankrupt in 1968. The spirit of National resonator guitars was rejuvenated by independent company, National Reso‑Phonic Guitars founded in 1989 in San Luis Obispo, California.


O – O Stands for…

Orange

Orange Amps was founded in 1968 by musician, electronics designer and retailer Clifford Cooper in London, England. The bright orange covering on their amp heads and speaker cabinets was a distinctive aesthetic, making them instantly recognisable. It helped that the sounds were also what many guitarists and bass players were listening out for at the time. Orange partnered with Radiocraft owned by Mat Mathias, which led to the Orange Matamp amps. After a 4‑year period in which Gibson reissued amps using the Orange name, Cooper regained the brand in 1997 and production was resumed in 1998. Orange is still flourishing as of 2025.

Orville

Orville by Gibson guitars and basses were part of the Gibson Guitar Corporation, destined for the Japanese market from 1988. Japanese distributor Yamano Gakki and Gibson decided not to use the Epiphone brand name and chose Orville – after Gibson founder Orville Gibson – despite the fact that Gibson was selling both Gibson and Epiphone in Japan. Production of Orville by Gibson guitars ceased in 1998 with Gibson’s focus on promoting Epiphone Japan models.

Ovation

Ovation was founded in 1965 by aeronautical engineer Charles Kaman (1919‑2011), in Hartford, Connecticut, USA. Kaman Music Corporation (KMC) used the founder’s technical background to manufacture guitars employing composite materials, predominantly bowl‑back acoustic guitars using a synthetic material called Lyracord. Fender briefly owned Ovation from 2008 to 2014 and the business is now owned by German company GEWA Music as of 2025.


P – P Stands for…

Parker

Parker Guitars was founded in 1993 by American luthier Ken Parker with input from pickup pioneer Larry Fishman in Chicago, Illinois. Parker guitars, particularly the Fly model, used innovative composite construction including a wood core covered with a carbon fibre/resin exoskeleton to reduce weight and increase rigidity. Pickups were traditional magnetic coil split humbuckers supplemented by piezo pickups to provide acoustic‑like tones. Fingerboards comprised composite materials with stainless steel frets. The US Music Corporation acquired Parker in 2003, moving production overseas before selling the brand again to Jam Industries. Parker Guitars has been defunct since 2016, despite several efforts to revive the brand.

Patrick James Eggle

Patrick Eggle Guitars was founded in the 1990s by British luthier Patrick James Eggle in Coventry, England. He left his own company in 1994 and, after several side projects in the US and UK, he formed Patrick James Eggle Guitars producing high‑end acoustic guitars. Eggle also helped to design Faith Guitars. In 2016, Eggle switched production from acoustic to electric guitars and in 2017. Eggle has also designed guitars for the revived Shergold Guitars brand (see below).

Paul Reed Smith (PRS)

PRS, a relatively new kid on the block, was founded in 1985 by American luthier Paul Reed Smith (1956‑) in Annapolis, Maryland. PRS guitars were cleverly positioned strategically between Fender and Gibson often using flamboyant designs and highly figured tone woods, often selling for premium prices. In 2003, PRS created the highly successful SE (Student Edition) range manufactured in the Far East. PRS remains a private company as of 2025.

Peavey

American innovator, Hartley Peavey (1941‑) founded Peavey Electronics in 1965, based in Meridian, Mississippi. Peavey has grown to become one of the largest music audio equipment manufacturers in the world. Peavey is mainly known for its amps and speaker cabinets, Peavey has also manufactured acoustic and electric guitars as well as basses. As of 2025, Peavey remains a privately owned company.

Pignose

Pignose was founded in 1969 by Richard Edlund and Wayne Kimbell in Chicago, Illinois. The company focuses on the manufacture of battery‑powered guitar amps, mains‑powered practice amps and innovative travel guitars incorporating an integrated amp and speaker. The iconic Pignose 7‑100 was considered to be the first portable electric guitar amp. Since 2023, Pignose has been under the ownership of Japanese company Aria (see above).

Pro Co

Pro Co Sound is based in Kalamazoo, Michigan and is best known for a single product, the Pro Co Rat distortion effect pedal (and multiple variations thereof). The Rat – allegedly named after the rodent‑infested basement in which the pedal was designed – was the brainchild of Pro Co engineer Scott Burnham in 1974, entering full production in 1979. The Rat has become one of best‑selling distortion stomp boxes of all time.


Q – Q Stands for…

I got nothin’


R – R Stands for…

Ramírez

Ramírez Guitars was founded in 1882 by José Ramírez in Madrid, Spain. The company has been manufacturing hand‑built professional, concert‑grade classical and flamenco acoustic guitars. Ramírez has been in business for over 140 years and has remained a private family business for five generations (to‑date).

Randall

Randall Amplifier Company was founded in 1970 by Don Randall in Irvine, California. Before setting up his own business focusing on guitar amps, Randall was vice president and general manager of Fender and then the Fender Sales divisions of CBS. After Randall sold his business in 1987, it was acquired by US Music Corporation, a subsidiary of Canadian corporate group Exertis.

Regal

What would become the Regal Musical Instrument Manufacturing Company from 1901 was founded in 1896 by Emil Wulschner in Indianapolis, Indiana. Regal started out making ukuleles and tenor guitars. Regal later made resonator guitar components for National and Dobro as well as making instruments under their own brand. Regal ceased production of guitars in 1941 and closed business in 1954, Fender owned the brand for a while before it was sold again to Saga Musical Instruments in 1987, who reintroduced a range of resonator instruments using the Regal name.

Rickenbacker

Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacker Manufacturing Company in 1925 to make metal bodies for National Guitars before setting up the Ro‑Pat‑In Corporation in 1931 along with performer and inventor George Beauchamp in LA, California. In 1932, Rickenbacker became the first company to make a production solid bodied electric guitar and by 1934, the company was using the Rickenbacker name. Rickenbacker really hit its stride in the 1950s after Rickenbacker sold his company to businessman F.C. Hall. Rickenbacker International Corporation (RIC) is famous for its 300 series guitars and 4000 series basses. Rickenbacker remains a private company, with its headquarters in Santa Ana, California.

Roger Mayer

Electrical engineer Roger Mayer is a name closely associated with Jimi Hendrix among others in the 1960s. In particular, Mayer’s fame resulted from the Octavia guitar effect pedal that integrated an octave (up) generator with a fuzz distortion effect. The classic Octavia remains in production still using the Mayer name. Mayer was also involved with modifying Maestro Fuzz Tone pedals and influencing the Sola Sound/Coloursound Tone Bender fuzz pedals.

Roland

The Roland Corporation was founded in 1972 by Ikutaro Kakehashi (1930‑2017) in Osaka, Japan. Roland is a multinational company manufacturing electronic organs, synthesisers, drum machines, amps and effect pedals with many iconic models, too many to mention here. Roland was also a key player in the development, introduction and promotion of the MIDI communication protocol for electronic music equipment. Roland also owns famous subsidiaries, including BOSS, Drum Workshop, Edirol and Rhodes.

Ross

Kustom Amps was founded in 1964 by Charles ‘Bud’ Ross in Chanute Kansas. After Kustom achieved considerable success, Ross sold his company to Baldwin Pianos in 1972. At that point, Ross launched Ross Musical and released the first Ross guitar effect pedals in c.1974. While Ross manufactured a wide range of effects, three Ross pedals are noteworthy, the tan‑hued Distortion, the orange Phaser and the now legendary grey Compressor. Ross pedals were revived in c.2020 by JHS Pedals (see above under John Hornby Skewes) with reissues of the classic Ross stomp boxes from the 1970s.


S – S Stands for…

Sadowsky

Sadowsky Guitars Limited was founded in 1979 by American luthier Roger Sadowsky in Long Island, New York. Roger Sadowsky has a strong reputation for building high‑end boutique guitars and basses. From 2019, Sadowsky has remained a private company while instruments are produced by German bass manufacturer Warwick (see below).

Santa Cruz

The Santa Cruz Guitar Company was founded in 1976 by American luthier Richard Hoover in Santa Cruz, California. Santa Cruz manufactures a limited number of high‑end steel‑string acoustic and acoustic bass guitars along with baritone guitars and ukuleles. Santa Cruz remains a private company as of 2025.

Schaller

Schaller GmBH was founded in in 1945 by Helmut Schaller (1923‑1999) near Nuremberg, Bavaria, Germany. Schaller manufactures a wide range of guitar parts and accessories. Initially, Schaller focused on the development of amps and speakers before moving into manufacturing metal guitar aftermarket and OEM components used by a wide variety of companies. Schaller tuners and bridges have achieved recognition for build quality. After the deaths of founding family members by 2006, Schaller was restructured as a limited liability company (GmbH).

Schecter

Schecter Guitar Research was founded in 1976 by David Schecter in Van Nuys, California. Initially, Schecter manufactured a wide range of replacement guitar parts and accessories. In 1979, Schecter started producing its own custom made guitars based on Fender designs. By 1983, Schecter was bought out by investors and, after legal action from Fender, the company was bought again by Japanese businessman Shibuya Hisatake, owner of ESP Guitars (see above), to make high‑end custom guitars. In addition to American manufacturing, Schecter imported South Korean‑built guitars from the late 1990s. In 2012, Schecter resumed American custom shop production.

Selmer

Henri Selmer Paris was founded in 1885 by Henri Selmer in Mantes la Ville near Paris, France. Selmer started off by manufacturing professional woodwind and brass instruments. In 1928, a UK branch of Selmer was formed under the leadership of brothers, Ben and Lew Davis. In the 1930s, Selmer partnered with luthier Mario Maccaferri to produce gypsy jazz guitars (see above). They also moved into PA systems during the 1930s. In the 1950s, Selmer also went into manufacturing organs as well as importing guitars from Europe. Selmer began producing a range of guitar and bass amps prompted by the rise of rock & roll. In the 1970s, Gibson owner CMI acquired Selmer UK. From 1976, CMI’s successor Norlin started running down Selmer UK until it was shut down in the early 1980s. In 2018, the family‑owned Henri Selmer Paris was sold to European equity group, Argos Wityu.

Seymour Duncan

Seymour Duncan was founded in 1976 by Seymour Duncan (1951‑) and his wife Cathy Carter in Santa Barbara, California. Seymour Duncan is best known for manufacturing a wide range of aftermarket guitar and bass pickups, as well as effect pedals. Most pickups are American‑made although the low‑cost OEM ‘Duncan‑designed’ pickups are manufactured in South Korea. Seymour Duncan’s main competitor is DiMarzio (see above).

Shergold

Shergold Guitars was founded in 1967 by former Burns London employees Jack Golder and Norman Houlder in London, England. After producing products for other companies, Shergold started making and selling guitars under the Shergold name in 1975. Shergold ceased manufacturing guitars in 1982 and there were several subsequent failed attempts to revive the brand. Barnes & Mullins acquired Shergold in 2015 and, in 2016, British luthier Patrick James Eggle (see above) became a shareholder and helped to design a range of new Shergold models.

Shin-ei

Little known outside of Japan, Shin‑ei was a major manufacturer of guitar effect pedals from the late 1960s and throughout the 1970s. In 1968, Shin‑ei created the legendary Uni‑Vibe modulation effect made famous by Jimi Hendrix. The Uni‑Vibe’s unique tones have been much imitated since. Shin‑ei manufactured products for different companies as well as under its own name. The rejuvenated company is Honey Shin-ei LLC, based in Austin, Texas.

Silvertone

Silvertone was a brand name used by the American Sears, Roebuck & Company mail order and department store for its line of consumer electronics and musical instruments from 1916. Silvertone instruments and amplifiers were manufactured by a wide variety of companies including Danelectro, Harmony, Kay, National, Supro, Teisco and Valco. Sears stopped using the Silvertone brand in 1972. In 2001, South Korean company, Samick Music acquired the rights to Silvertone and reissued a number of instruments under the revived Silvertone brand. Samick sold Silvertone to current owners, RBI Music in 2021.

Sola Sound

Sola Sound was a British guitar effect pedal brand best known for making the iconic Tone Bender fuzz pedals. The Tone Bender first appeared in 1965, designed and built in London by electronic technician Gary Hurst. The Tone Bender derived from Maestro’s Fuzz Tone and inspired Dallas Arbiter’s Fuzz face. From 1970, Sola Sound produced Colorsound‑branded pedals. Sola Sound also made pedals for other companies, such as VOX, Marshall, Carlsboro, Rotosound, CSL and many others. Both Sola Sound and Colorsound were owned by brothers Larry and Joe Macari of London, England, known for their eponymous London retail store.

Soldano

Soldano Custom Amplification was founded in 1986 by American Michael Soldano in LA, Calirfornia. Soldano designed and manufactured high‑gain guitar amps after modifying Fender and Mesa/Boogie amps. Michael Soldano, latterly based in Seattle, Washington, sold his company to Boutique Amps Distribution in 2019.

Sound City

British amp manufacturer Hiwatt (see above) was formed in 1966. Hiwatt’s founder Dave Reeves contacted Ivor Arbiter to produce guitar amplifiers re‑badged using Arbiter’s Sound City music store name. Sound City amps became associated particularly with The Who and Jimi Hendrix.

Steinberger

Steinberger was founded in 1979 by Ned Steinberger (1948‑) in Brooklyn, New York. The company manufactured a range of electric guitars and basses designed by the founder. Steinberger was eventually sold to Gibson in 1987, which stopped selling Steinberger guitars in the mid‑1990s. The most distinctive Steinberger instruments have downsized synthetic construction bodies and necks devoid of a traditional headstock, giving the instruments a minimalistic look. Steinberger (under Gibson) licensed the design to other companies including Hohner and Cort, accounting for new models.

Stick

Stick Enterprises is the company behind the innovative Chapman Stick, an unorthodox electric musical instrument devised by jazz musician Emmett Chapman (1936‑2021), which started production in 1974. The Chapman Stick commonly comprises 8, 10 or 12 strings on an enlarged fretboard and is usually played by a ‘two handed tapping’ technique, rather than by plucking the strings. While based on a guitar, it is classified as a composite chordophone.

Stromberg

Stromberg Guitars was founded in 1906 by Swedish immigrant Charles Stromberg in Boston, Massachusetts. Stromberg started out by making banjos and mandolins until 1927 when they produced their first archtop jazz guitar. Stromberg only made around 640 guitars during the big band era, during which their guitars’ large size gave them sufficient volume to compete with loud horn sections. Production stopped in in 1955 with the death of the founder.

Supro

Supro guitars date back to 1935, made as a low‑cost brand by the National Dobro Corporation (see above). From the 1950s, Supro produced electric guitars, basses, amps and effects. National Dobro was acquired by Valco, which went out of business in 1968, at which time the Supro name was discontinued. The Supro name was revived in 2013 making guitars, amps and effects. In 2020, Supro was bought by Bond Audio.


T – T Stands for…

Takamine

Takamine Musical Instruments Manufacturing Co., Ltd. was founded in 1959 by Ozhone in Sakashita, Gifu, Japan. In 1962, the company was named after Mount Takamine in Japan. Takamine focuses on manufacturing steel‑string acoustic guitars and it has become one of the leading companies of its kind. In 1978, Takamine was one of the first firms to make acoustic/electric guitars using innovative transducers, particularly suited to live performance, as they reduced feedback. For a short period, Takamine also produced solid body electric guitars and basses. Takamine remains a private company as of 2025.

Taylor

Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug in El Cajon, California. Taylor manufactures premium acoustic, classical and semi‑hollow electric guitars in the USA and Mexico. Taylor has become famous for its innovative manufacturing technologies, use of exotic tone woods and sustainable production processes. In 2021, Taylor Guitars became owned by its employees and in 2022, Luthier and guitarist Andy Powers became Taylor’s Chief Executive, President, and Chief Guitar Designer.

TC Electronic

TC Electronic was founded in 1976 by brothers Kim and John Rishøj in Denmark. The company specialises in a wide range of innovative music audio products and is most famous for its guitar effect products. TC Electronic is only one of several companies under the ownership of TC Group holding company. In 2015, TC Electronic was purchased by Music Group (now Music Tribe).

Teisco

Teisco was founded in 1946 by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan. The company produced a range of esoterically designed guitars, basses and baritone guitars as well as other musical equipment including amps, synthesisers and drums. In the US, guitars were re‑badged Teisco Del Rey. In 1967, the Teisco name was acquired by Japanese company Kawai Gakki Seisakusho which ceased using the Teisco name outside Japan in 1969. In 2018, the Teisco name, along with Harmony Guitars (see above), was relaunched by BandLab Technologies of Singapore.

Thomas Organ

The Thomas Organ Company was founded in 1875 by Edward Thomas in Woodstock, Ontario, Canada. The company’s early focus was on pipe and pump organs. In the 1950s, the company invented the Thomas electronic organ. Thomas became US importer of VOX products, exemplified by the Thomas Organ Cry Baby (the Cry Baby name wasn’t trademarked). Thomas also acquired rights to make Moog synthesisers. In 1979, Thomas Organ ceased business, although the name was revived 1996 to manufacture electronic organs once again.

Tobias

Tobias Bass Guitars was founded in 1977 by Michael Tobias in Orlando, Florida. The majority of Tobias basses were cost‑effective neck‑through models. Tobias was acquired by Gibson in 1990 and production was moved to Nashville, Tennessee. In 1992, Michael Tobias left Gibson to found Michael Tobias Design making boutique bass guitars. Tobias bass guitars are manufactured by Gibson’s Epiphone division and the brand has been rejuvenated in 2025.

Tokai

Tōkai Gakki was founded in 1947 by Tadayouki Adachi in Hamamatsu, Shizuoka, Japan. Initially, Tokai focused on harmonicas and pianos as well as other instruments. In 1968, Tokai started manufacturing electric guitars alongside acoustics and, later, basses and amps. In 1972, Tokai worked with C.F. Martin to build Martin’s Sigma electric guitars. In the early 1980s, Tokai got caught up in the ‘lawsuit era’, a period during which American brands threatened Japanese businesses over design copyright infringements. Tokai was a family business until it was sold in 2021 to Grace Company Ltd.

Tom Anderson

Tom Anderson Guitarworks was founded in 1984 by American luthier Tom Anderson in Newbury Park, California. Anderson started out working for Schecter before branching out on his own making limited numbers of highly‑regarded premium boutique and custom guitars. By 1990, Anderson moved from manufacturing parts to building whole guitars. Tom Anderson remains in business as of 2025.

Trace Elliot

Trace Elliot was founded in 1979 by retailer Fred Friedlein in Romford, Essex, England. The company specialised in bass amps and speaker cabinets, and from 1989, acoustic guitar amps. In 1992, KMC (who owned Ovation) acquired Trace Elliott to focus on the US market. In 1998, the company was sold again to Gibson. Then, in 2005, Peavey acquired Trace Elliott.

Travis Bean

Travis Bean Guitars was founded in 1974 by American luthier Travis Bean (1947‑2011) and business partner Gary Kramer in California to manufacture high‑end guitars using necks made from machined aluminium. Kramer left the company in 1975 to found Kramer Guitars (see above). Bean once again toyed with guitar manufacture in the late 1990s but the potential from his innovative construction techniques was largely unrealised.

Traynor

Traynor Amplifiers was a brand founded in 1963 by electronics designer Peter Traynor in Toronto, Canada under parent company Yorkville Sound. Traynor focused on manufacturing bass and guitar amps. In 1976, Peter Traynor left due to poor health and the brand diminished over a period of years until it was revived by Yorkville in 2000, still manufacturing bass, guitar, acoustic and keyboard amps.


U – U Stands for…

Univox

Univox was a musical instrument brand founded in 1960 by Thomas Walter Jennings in Westbury New York. The company marketed Univox guitar amplifiers, guitars, keyboards and drum machines. Univox’s main claims to fame were the legendary Uni‑Vibe and Uni‑Fuzz pedals. They also distributed Matsumoku guitars, Shin‑Ei effect pedals and Korg synthesisers. In 1985, the parent company Unicord was sold to Japanese company Korg, after which the Univox brand was phased out.


V – V Stands for…

Valco

Valco was formed in 1940 by a stakeholder restructuring of the National Dobro Company. Valco manufactured a range of guitars, basses and amplifiers using a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears and Montgomery Ward. However, they didn’t retail any products using the Valco name. Valco merged with Kay in 1967 before going bankrupt in 1968.

Vega

The American Vega Company was formed in 1881 by Julius and Carl Nelson in Boston, Massachusetts. At the start of the 20th Century, the firm concentrated on banjos, mandolins and brass instruments. Vega started building guitars in the 1930s and was later acquired by C.F. Martin in 1970, primarily for its banjo expertise. In 1989 the Vega name was sold to the Deering Banjo Company who continue to make banjos using the Vega brand.

Vigier

Vigier Guitars was founded in 1980 by luthier Patrice Vigier in Grigny, Essonne, France. Vigier manufactures premium grade electric guitars, basses and strings. Vigier guitars has introduced many innovations and became particularly noteworthy for its Surfreter fretless variation on the Excalibur 6‑string guitar model.

VOX

VOX was founded in 1957 by Thomas Walter Jennings in Dartford, Kent, England. The company is mostly associated with guitar amplifiers such as the iconic AC30. From 1962, VOX also manufactured a range of electric guitars and effect pedals, often using Italian production facilities. VOX was sold to Rose Morris in 1978 and then again to the giant Japanese corporation Korg in 1992. Korg still own the VOX name as of 2025.


W – W Stands for…

Wal

Wal is a British brand of bass guitars founded in 1974 by electronic innovator Ian Waller and luthier Pete Stevens in London, England. Starting out making custom‑made bass guitars for professional players, the first production Pro Series basses started appearing in 1978 and the Custom Series in 1983. After Ian Waller died in 1988, Pete Stevens kept the business going at a low level. The company was revived under the leadership of luthier and former Wal employee Paul Herman in 2008.

Wandre

Wandre Guitars was founded in c.1957 by Antonio Vandrè Pioli in in Cavriago, Italy. Wandre manufactured a very small number of electric guitars and basses using some esoteric radical design elements until production ceased in 1968. To‑date, the Wandre brand has not been revived. Examples of Wandre instruments are highly sought after on the vintage guitar market.

Warwick

Warwick was founded in 1982 by Hans‑Peter Wilfer in Erlangen, Bavaria, Germany. Hans‑Peter was the son of Fred Wilfer, who had founded Framus (see above) back in 1946. Warwick is famous for manufacturing premium bass guitars, as well as more affordable bass models, amps and bass strings.

Washburn

Washburn Guitars was originally founded in 1883 by American businessman George W. Lyon and Patrick J. Healy in Chicago, Illinois. Washburn initially focused on guitars, mandolins, banjos, ukuleles and zithers. Washburn’s early years were particularly volatile and hard to document accurately. After bankruptcy, Regal (see above) tried to rejuvenate the brand without success. After many further changes, Washburn International was formed in 1987. Washburn bought the US Music Corporation in 2002 and was then sold on to Jam Industries in 2009. Washburn‑branded instruments are currently sourced from Indonesia and China.

Watkins (WEM)

Watkins Electric Music (WEM) was founded in 1949 by Charlie and Reg Watkins in London, England. WEM was one of the first British makers of guitar and PA amplifiers from 1954. In 1958, WEM introduced one of the first portable tape loop echo effects, the iconic Copicat. WEM amps and speaker cabinets were adopted by a wide range of British rock bands in the 1960s and early 1970s. Watkins sill manufactures small numbers of Copicat tape echo units.

Westone

The official Westone brand was formed in 1975 when Japanese company Matsumoku purchased the rights to the Westone name. Westone began by producing affordable acoustic and electric guitars, and basses. St. Louis Music registered the Westone brand in the US to import Japanese Westone guitars. The Westone name was superseded by Alvarez (see above) in 1991. Since then, a number of firms have used (or tried to use) the Westone name.


X

I got nothin’


Y – Y Stands for…

Yamaha

The massive Japanese Yamaha Corporation is the world’s largest manufacturer of music and audio equipment. Yamaha was founded as the Nippon Gakki Co. in 1887 by Torakusu Yamaha (1851‑1916) in Hamamatsu, Shizuoka, Japan. The company began as a reed organ manufacturer. In 1987, Nippon Gakki was renamed Yamaha Corporation in honour of its founder, still based in Hamamatsu. Yamaha also owns some other famous brands such as Ampeg and Line 6.


Z – Z Stands for…

Zemaitis

Zemaitis was founded in 1955 by luthier Tony Zemaitis (1935‑2002) in London, England. He hand built guitars, renowned for their engraved metal tops (created by Danny O’Brien) and later pearl inlaid tops. Zemaitis gained an enviable reputation among many famous artists. After his death, the tradition was continued by Zemaitis Guitars of Tokyo, Japan, led by the founder’s son, Tony Zemaitis Jr. and still using the metal engraving skills of O’Brien. Original Zemaitis guitars are now highly sought after.


Links to CRAVE Guitars’ Brand Features

The CRAVE Guitars’ web site currently has feature pages on 14 guitar brands. These provide a bit more detail than the above, should you wish to explore further (each link opens in a new browser tab):

Danelectro
Epiphone
Fender
Gibson
Gretsch
Guild
Kramer
Music Man
National (Dobro/Valco)
Ovation
Paul Reed Smith (PRS)
Peavey
Rickenbacker
Silvertone


Final Thoughts on ‘An Alternative A‑Z of Vintage Guitar Gear’

Well, that was a bit of a slog (at least for me). For once, there is not a great deal to add, so this will be very brief. That’s it. There you go. No point in wasting words on waffle. So, let’s move on with aplomb.


CRAVE Guitars’ ‘Album(s) of the Month’

It seems appropriate this month to applaud the accomplishments of not one but two bands and their classic studio albums, both with an alphabetic emphasis from A(BC) to Z(Z Top). See what I did there? These two albums should prove beyond doubt that there was some great music – and MTV‑friendly pop music videos to boot – to be had in the 1980s. Without further ado, let’s dig in for some upbeat joyful musical exuberance…

ABC – The Lexicon of Love (1982): ‘The Lexicon of Love’ was the chart‑topping debut studio album by English new wave/new romantic/pop band ABC. It was released in June 1982 on Neutron Records. The astounding popularity and commercial success of the album led it to be ranked as ‘one of the greatest albums of the 1980s’. It sounds both of its time and also timeless, if you get my drift. ABC were not able to capitalise on their success and the slick 10 tracks (38 minutes) of ‘The Lexicon of Love’ remains the pinnacle of their career (to‑date).

ZZ Top – Eliminator (1983): ‘Eliminator’ was the 8th studio album by American blues/rock band ZZ Top. It was released in March 1983 on Warner Brothers Records. Despite only reaching #3 in the UK album chart and #9 in the US Billboard 200, it proved phenomenally popular and commercially successful. Whether you remember the iconic pop music videos, the customised 1933 Ford Coupe hot rod or the spinning sheepskin‑covered guitars, the striking images and fresh sounds of the 11 tracks (45 mins) on ‘Eliminator’ couldn’t be ignored. It may not be their best but it is certainly their biggest. There is no doubt that ‘Eliminator’ launched the power trio into superstardom.

There you have it – from ABC-ZZ Top. Love or loathe these albums epitomising the excesses of the 1980s, they have both become landmarks in music history and represent the cultural zeitgeist at the time. Perhaps it is now time for a re‑appraisal of their merit within the broader historical context. Are they ‘essential listening’? I think so but, when it comes down to it, it’s up to everyone to make up their own minds. All I can do is put it out there for consideration.

BELIEVE IN MUSIC!


Tailpiece

Well, that was a lot, and I mean A LOT, of work and, for what I ask? Was it worth it? Well, for the author’s own sanity and personal development, yes. For everyone out there, that’s for you to judge. I hope it has been both informative and entertaining. Given the huge amount of work involved in compiling this A‑Z article, I intend to use a lot of it in modified form as a permanent part of the ‘Resources’ section of the CRAVE Guitars web site.

Next month, the author will face a conundrum, a dilemma, a challenge, a quandary, a predicament, a pickle and, most of all, an enigma, a paradox and a bit of a mystery (at least for now). Typically trailing trendy tantalising tantra. Intrigued? Be sure to check in, same time, same place, next month. Bye for now, y’all.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “A picture can tell a thousand lies”

© 2025 CRAVE Guitars – Love Vintage Guitars.


 

Like it? Why not share it?

July 2020 – More Whazzup at CRAVE Guitars

Prelude

HELLO AND WELCOME to the second half of 2020 for what it’s worth. The fact that most of us meek hominids have made it this far is surely a good thing (for mankind, if not the planet), despite the best efforts of coronageddon. At the time of writing there are over 17 million confirmed cases and 667,000 deaths recorded globally due to coronavirus and sadly the numbers are still rising. I hope you are surviving amongst the mercenary madness. Thoughts, as always, lie with those affected directly and indirectly. Also, it is important to recognise the detrimental effects of the COVID pandemic on mental health & wellbeing; the risk of long‑term psychosis is a concern, worse because it cannot be seen and is rarely disclosed as an issue. Civilisation still has some way to go before it can prove resilient to the virus and worthy enough to survive as a species.

Before further ado, let’s move forward to the past. In the last article, I covered the key acquisitions made by CRAVE Guitars during 2019. As signposted last time, this month I’ll be covering the experience of repatriating 42 guitars and basses (40 of them vintage) after an extended period in enforced storage and bringing them back to as good a shape as they can be. None of the guitars covered here were featured in last month’s article, so there is no overlap between the two.

What are we actually talking about here?

As a reminder, here is the full list of the guitars that eventually returned home (by brand/alphabetic order):

Vintage Fender guitars (13):
  • 1966 Fender Coronado II
  • 1965 Fender Duo-Sonic II
  • 1965 Fender Jaguar
  • 1965 Fender Jazzmaster
  • 1965 Fender Musicmaster II
  • 1966 Fender Mustang
  • 1972 Fender Mustang Competition
  • 1977 Fender Stratocaster
  • 1983 Fender Stratocaster ‘Dan Smith’ Era
  • 1988 Fender Telecaster
  • 1974 Fender Telecaster Custom
  • 1973 Fender Telecaster Deluxe
  • 1972 Fender Telecaster Thinline
1966 Fender Coronado
Vintage Gibson guitars (20):
  • 1983 Gibson Corvus II
  • 1963 Gibson ES-330 TDC
  • 1985 Gibson ES-335 Dot
  • 1983 Gibson Explorer
  • 1984 Gibson Explorer
  • 1982 Gibson Explorer CMT/E2
  • 1984 Gibson Explorer Custom Shop Edition
  • 1984 Gibson Explorer ‘Union Jack’
  • 1976 Gibson Firebird Bicentennial
  • 1966 Gibson Firebird III
  • 1980 Gibson Flying V2
  • 1989 Gibson Les Paul Custom
  • 1977 Gibson Les Paul Deluxe Gold Top
  • 1975 Gibson Les Paul Standard
  • 1964 Gibson Melody Maker
  • 1961 Gibson Melody Maker D
  • 1982 Gibson Moderne Korina Heritage
  • 1981 Gibson RD Artist
  • 1965 Gibson SG Junior
  • 1968 Gibson SG Standard
1981 Gibson RD Artist
Vintage other brand guitars (5):
  • 1966 Epiphone Olympic
  • 1962 Gretsch 6120 Chet Atkins Double Cutaway Hollowbody
  • 1965 Gretsch 6135 Corvette
  • 1974 Rickenbacker 480
  • 1964 Silvertone 1449 ‘Amp in Case’
1974 Rickenbacker 480
Vintage basses (2):
  • 1977 Fender Precision Fretless Bass
  • 1978 Music Man Stingray Bass
1978 Music Man Stingray Bass
Non-vintage guitars (2):
  • 2002 Gibson Les Paul Standard
  • 1998 Gibson Les Paul Standard DC
1998 Gibson Les Paul Standard DC

Many purists may assert that some of these aren’t ‘vintage’. However, that is a debate for another time and place (and has actually been deliberated upon in previous articles). CRAVE Guitars’ cut‑off point is currently the end of 1989, i.e. over 30 years old.

While I might bloviate limitlessly about these musical devices, you will probably be relieved that I won’t be going through each of the guitars in sequence and in forensic detail. Rather, I will try to relate the key headlines, the highs and lows, the learning points and any resultant implications arising from the exercise.

At the time of writing, 38 vintage guitars have been given a well-deserved cossetting and these are the ones I’ll be covering here. The only ones remaining are the two vintage bass guitars, which I dread will both need some expert remedial work, as well as the two newer guitars (1998 and 2002). These remaining instruments will get the treatment they require in due course but now is the time to reflect on the significant work done on the major assets. I abhor calling them that but in this context, I guess that’s what they are.

Where they went and how they returned

In this first section, I may reiterate some points I’ve previously covered, so for regular readers, please forgive me for repeating myself. The elephant in the room is… ‘why?’.

I have to admit that the events that led to ‘here & now’ include a very dark period for me and the impact of the hardship still deeply affects me to my core. I won’t go into the detail of the circumstances, suffice to say that I lost pretty much everything back in 2011 and rapidly had to find a temporary home, not only for us as a family, but also for most of my guitars, which at that time was around 37 of them.

My first job was to document what was going away as best as I could, which included photographs and a comprehensive database covering each guitar. Fortunately for me, a good friend was able to find a safe space for them and they were stored away in a dry and reasonably ventilated roof space. Certainly not the ideal conditions for temperature and humidity but when desperate needs must, it was a saviour of momentous proportions and for which I will be eternally grateful. At least we live in a cool temperate zone, so the swings in climate could be a lot worse.

I had hoped to get back on my feet in a matter of just a few months, however that turned into a year and then several years until they were brought back home in 2019. I felt truly bad about the imposition on my friend and very fearful about what deterioration might be taking place in a less than perfect environment over an extended period of confinement. At least the guitars were all in cases of one sort or other, offering some degree of protection. During the lengthy hiatus, some guitars were retrieved, others swapped out and some were interred. Some of them, however, spent the full 7‑8 years in horrible exile.

We eventually relocated into a new home in the SW of the UK in 2017. When we moved, a few of the newer non‑vintage gear had to be sold off to preserve the core vintage items. A year after our move, my friend also moved home, staying in the SE of England. It was that combination of events that led to ‘the 42’ and I being reunited at long last in January 2019. A specialist haulage company charged the Earth for the pleasure of transporting them 200‑odd miles but at least they arrived OK. I had originally planned to refurbish our damp, dark cellar to make a new home for the guitars first but, as is usually our luck, circumstances got in the way and now I’m living amongst many stacked guitar cases. At least they are always close to hand.

Repatriation Guitar Cases

I knew that it wasn’t just going to be a case of unpacking and playing them as if nothing had happened, so I set about planning a very unhurried and practical approach to assessment and reconditioning. There was no set order to this process; it was very much a case of starting at the beginning and working through in whatever order they happened to be in. Now, in July 2020, I have worked through all the key returnees.

Nevertheless, it has taken over 18 months to complete the programme of refurbishment to this point. Not a quick procedure but not rushed either. I always felt that it would be better to take it easy rather than potentially to make things worse by jumping in too enthusiastically. They are already old, a little longer doesn’t matter.

General Condition

Thankfully, all the guitars were in cases, although the condition of each case varied greatly. Some cases are good and strong, while others have various signs of wear and tear and some are very tatty and weak, providing hardly any physical protection but better than nothing. The oblong cases were far easier to accommodate, being easier and safer to stack, unlike the shaped ones.

The first thing to notice was a predictable coating of general entropy. A lot of people pay a lot of money for genuine old dust and grime (heehee), so the cases stay as they are, as testament to the trials and tribulations to which they had been exposed. I am not one of those snobbish ‘collector’ types that insist on everything being perfect and as‑new. I fully understand that I am only a temporary custodian in their long lifespan that in some cases started before I was born and which most likely will well outlast me. This part of their existence has at least been documented for all to see. It is all part of our collective heritage, albeit a miniscule representation.

Opening each case for the first time and taking each guitar out was the point of maximum trepidation and anxiety, rather than excitement. On initial release, each one was given a cursory once over to see if there was any immediate and obvious appreciable damage. I can report that, so far, that no appreciable impairment has occurred to any of the guitars during stasis. No significant issues requiring immediate corrective work were noticed, which was a massive relief. Phew!

One thing common to many, if not all, guitars was an unidentified surface film/smear, despite being effectively protected from too many outside elements. There were also signs of varying degrees of oxidation and/or corrosion to some metal parts although, again, nothing particularly serious. Most of these ‘issues’ would be rectified by a sensitive clean. A few guitars seemed to have more nitrocellulose weather checking than I remember. Whether this was a result of inaccurate memory or a genuine reaction to environmental factors, I cannot be absolutely sure. While finish crazing can add mojo to a vintage guitar, I’d rather not intentionally make it worse, so I was a bit despondent on that front, as the crazing process is irreversible. So, job number 1 would be a thorough deep cleaning – not enough to ruin the genuine patina of age but just to bring the finish back to life and protect it for the future.

1984 Gibson Explorer

The next thing was a quick acoustic strum and noodle before plugging them in. All of them were strung at full tension to preserve the neck relief but the strings themselves showed various degrees of corrosion and were horribly sticky to the touch. What surprised me was that about 80% of them were still in tune. Impressive. They sounded dead and lifeless though, even acoustically. So, job number 2 would be a full restring and setup for each of them.

Each guitar was then plugged in to an amp to test the instrument’s electrics. This is, sadly, where the most obvious degradation was evident across the board. Initially, some showed no signs of electrical life at all, which was a concern. Others had annoyingly intermittent noisy signals, many had rough scratchy pots, iffy crackly switches and raucous jittery jack sockets. I don’t think that any permanent failures occurred although they clearly needed to be seen to before they could be used in earnest. To be honest, with unkempt electrics and long dead strings, they generally sounded awful compared to how they should be. Not a promising initial analysis. So, job number 3 would be to go over the electrics where necessary to return them to usable operation.

That’s about it. Thankfully, there were no major concerns other than any reservations I might have had anyway (these are vintage guitars after all). The appearance could easily be resolved through some sensitive tender loving care (TLC). The electrics, I was pretty sure could be cleaned up and just used. Restringing and setting them up properly would, I hope give them a new lease of life. Phase 1 sorted then – just 3 key straightforward tasks for each guitar plus anything specifically identified on each one as they went through the TLC procedure.

Playability

As mentioned above, straight out of storage, pretty much every guitar felt dead and lifeless with little resonance from the bodies. Anyone who has followed CRAVE Guitars over the years knows that it is my firm belief that guitars should never be kept as mere trinkets and they need to be played regularly. The guitars seemed to agree wholeheartedly with this observation, as they were telling me loud and clear that they didn’t appreciate not being used for so long. It makes me wonder how many would‑be collectors are put off vintage guitars because they try one out in this unprepared state and then presume that they are all like that.

As I wasn’t in a hurry, I experimented with my approach to this zombie‑like phenomenon. They are just bits of wood, metal and plastic after all; why should a period of abandonment make that much difference? What is it that makes the difference? I decided to take some amateur and idle investigation a little further.

1983 Gibson Corvus

Some guitars I stripped down straight away, while others I decided to play for a while before reconditioning them. The interesting thing is that they didn’t need cleaning or restringing to bring them back to some resemblance of vitality, they simply needed playing for a while. Even with ratty old strings, tarnished finish and creaky electronics, they surprisingly would recover much of their vibrancy after a few days of being used. Some needed more teasing than others – no surprise there. This doesn’t mean that they couldn’t be made even better. Those that were given some TLC first seemed to spring back a bit quicker and stronger with fresh strings on board.

Most of the guitars did not need much in the way of set up to restore their playability. Not one needed a truss rod adjustment (phew!). I suppose the necks have been OK for several decades and they had already settled into how they should be. However, restringing gave an opportunity to check action, nut, bridge saddles, intonation and pickup height to fine tune them. A couple needed appropriate lubrication for the nut, bridge and tuners but not much. Time for some D’Addario/Planet Waves ‘LubriKit Friction Remover’, especially on vibrato‑equipped instruments. Just a few simple things made a lot of difference.

However, getting back to the point, the biggest difference to usability was simply to play them for a while. The comparison between ‘before’ and ‘after’ was remarkable in almost every instance. I’m sure that there must be scientific reasons but I’m not clear in my mind what actual cause and effect is going on here.

General TLC

This is the bit of maintenance that I’m probably best at – the simple stuff. I have mentioned quite a few times that my practical guitar tech skills are limited. What I can do though, is to give guitars a thorough pampering. The first thing is to take the old strings off (and recycle them). Some needed a bit of extra dismantling, for instance to get at the electrics, to shim a bolt‑on neck or to capture neck/body codes and document internal condition.

Cleaning is a relatively straightforward and painless process but it does make a huge difference to aesthetics. If there were specific reasons to do so, I might start off using T‑Cut judiciously to get through thick grime or smooth out some minor scratch marks. However, T‑Cut isn’t recommended to use on vintage guitars but it can help in some circumstances, as long as one is very careful. I have tried other abrasive products with varying degrees of success.

Most of the cleaning process was done using my guitar maintenance ‘system’ of choice, which is D’Addario/Planet Waves products.

More gentle than T‑Cut is D’Addario’s ‘Step 1 Restore: Detailer’, which is good for restoring the underlying nitrocellulose finish without ruining the natural aging and patina that develops over many years. It also helps to reduce minor swirl or plectrum marks, giving a nice healthy overall sheen. The degree of elbow grease required depended on each guitar and it is worth it.

After leaving the finish for a day to stabilise, I then used D’Addario’s ‘Step 2 Protect: Guitar Wax’, which uses premium quality Brazilian carnauba wax to give it a lovely finish and protect it for the future. As a wax, I’m uncertain as to how effective it actually is on nitrocellulose or polyester finishes but I figured that it certainly can’t do any harm. It is important here not to use anything that contains silicon or other unhelpful contaminants.

At this point, I would stop and not use D’Addario’s ‘Step 3 Shine: Spray Cleaner’ unless I continued to play the guitar for some time. It is ideal for use when a guitar needs a quick spruce up after playing, before putting it back into its case and/or moving onto the next one.

Plenty of people prefer other maintenance systems such as Dunlop’s excellent cleaning products. I just prefer the ’Addario/Planet Waves’ products. It may seem like I’m promoting and/or recommending their products, I’m not – it just works for me. They are quite expensive per millilitre but I think worth it on balance.

All rosewood and ebony fingerboards needed a good clean and multiple applications of lemon oil (which, incidentally, ain’t what it used to be!). Here, I use Kyser Lemon Oil, now that I’ve run out of my old good stuff, which it seems you can’t get any more. I’m still looking for something better though. Maple fingerboards only needed the same cleaning as for body/neck finish and it is important not to use lemon oil on lacquered maple fingerboards.

The condition of frets unsurprisingly varied from guitar to guitar, especially in the lower ‘cowboy chord’ frets. A few will require expert fret work at some point but not immediately. There were a few signs of rough surface corrosion. At its worst, rust build up could be removed using very fine grade wet & dry paper, whereas routine sprucing up could be achieved with fine wire wool depending on condition. For a final gleam, I used D’Addario’s ‘Fret Polishing System’. Visually, it does make a difference and it makes playing much nicer, especially when string bending in the higher registers.

Most of the other metalwork was OK and nothing needed anything radical. One has to be careful on gold, chrome or nickel plating, not to abrade the surface too much, so a gentle application of Brasso Metal Polish wadding was usually enough to remove surface tarnish and restore a nice metallic shine. I didn’t need to go further and use something harsher like Solvol Autosol on any guitar metalwork.

The crackly, glitchy, scratchy electrical components, including the usual pots, switches and jack sockets were mostly solved with a dose of electrical contact cleaner and repeated use to clean the surfaces. Here, I use Tone Electro-Sound Guitar Pick-Up & Electronic Cleaner, which is expensive but cheaper than the class leader, DeoxIT. There were a few remaining electrical problems that will require soldering and/or replacement parts/wires but nothing requiring immediate attention. As they were mostly OK when they went into confinement, it was really only new issues that will need sorting out.

1965 Fender Duo-Sonic II

As I’m sure most guitarists will attest, new strings are a key part of the playing experience. Here, I am very pragmatic and don’t insist on a ‘must have’ type of string. I am certainly not a string snob, opting for some (expensive) esoteric boutique product that needs changing after every play. Frankly, I can’t tell the difference. What I will mention is that it requires a level of investment to restring 40+ guitars, especially without ready access to bulk buying as a regular end‑consumer.

For Stratocasters with a vibrato block, I generally use Fender Bullets 10‑46 gauge. For most standard scale guitars, I use Ernie Ball Regular Slinky 10‑46 gauge. For short scale guitars or ones that benefit from a little extra string tension, I’ll go up to Ernie Ball Power Slinky 11-48 gauge. For the Gibson ES‑150, I haven’t decided on a suitable string set yet but it will probably need something like 12-56 semi‑flat wound strings to give it the necessary volume, warmth and resonance that it deserves. With the dreaded Brexit negotiations and no clear trade deals with either the European Union or the U.S.A. (or anyone else for that matter), I may decide to migrate to British‑made Rotosound strings for general use.

A final buffing with a lint‑free duster keeps the guitar’s finish nicely clean and shiny. No guitars are going back into long‑term storage and all will be played regularly over time. They aren’t on constant display and are kept indoors in their cases when not being played.

Remedial Work

Most of the guitars were in pretty good condition when they were stored away, so they didn’t go into incarceration with (m)any outstanding issues. Fortunately, they also came home in pretty good condition too. As mentioned above, I think both basses need some expert attention to their necks. I can’t be sure what issues they may have or what may be required but it is probably best to leave that to the experts.

There are a few guitars that do need electrical work doing, once again, anything beyond cleaning up contacts is best left to the experts. Some have intermittent problems (hums, crackles) or weak signals. On some, the balance of tones doesn’t seem right and could do with investigation. Perhaps some combination of new pots, switches, wires, capacitors, jack sockets, solder joints, etc. may be required.

If replacements and/or repairs are needed, where possible, these will be vintage correct. However, finding genuine vintage parts in the UK is a big issue and importing them is disproportionately expensive, so it isn’t something to be taken on lightly. In several instances, I may have to be pragmatic and replace faulty vintage parts with newer quality equivalents. After all, it is better to have guitars working properly, otherwise they are just planks of wood, bits of metal and plastic that won’t get played. Things like vintage pots can always be fitted retrospectively if need be.

Apart from the basses, not one of the guitars suffered neck problems, which I am genuinely amazed at. I guess they were old and settled anyway. Certainly no fretwork will be needed other than some basic levelling, crowning and polishing. I wish it was something I felt more confident about doing myself but I know that, if I made a mistake, it would undoubtedly be worse than when I started. Best left to a competent technician.

None, thankfully, require any finish work. I would prefer to leave any worn finish, dinks, scuffs, scratches or other marks as they are, rather than refinish a guitar and ruin its authenticity. Besides, I am smitten by the untold stories behind the genuine blemishes and imperfections that give them character. These are not new guitars and neither should they look it. Neither are they museum pieces, so the ravages of daily use are important to both their integrity and charm.

I only have one refinished guitar, which is CRAVE Guitars’ ‘signature’ 1975 Gibson Les Paul Standard. The guitar came to me when it was about two years old and had significant buckle rash on the back. For a while, it was finished in natural before being refinished again in a beautiful cherry sunburst. If you are wondering, it was originally a dark tobacco sunburst. At the time, as a teenager, I didn’t know any better and had absolutely no idea that in several decades that I would a) still have the guitar or b) value original finishes. Oh well. One lives and learns.

1975 Gibson Les Paul Standard

Guitar cases are a different matter. Some of the very old ‘cardboard’ cases are pretty tatty and there is not much that can be done about that. A number of cases have broken latches or missing handles and I would like to work through these to make them at least usable. Sourcing vintage or OEM NOS parts and restoring the hardware isn’t easy, as latches, hinges and handles were mainly riveted on, rather than screwed. Again, this isn’t entirely necessary or urgent, so it can be a project for a future date. Mostly, they are best left as they originally came to me.

Parts and Accessories

There are a few guitars that have had newer parts fitted at some point (not by me, I might add!). Some of these examples could do with sensitive conservation by using vintage original replacement parts. None of this is necessary or urgent so, like several other jobs, it can be done over time as opportunities present themselves. Messing with them or modifying them is not on my agenda.

Case candy is always nice to have but I don’t go out of my way to acquire it, if it wasn’t original to the guitar. Authenticity matters here. We have more than enough fake news and phoney history to contend with, without adding unnecessary doubt to the origins of the guitars.

Some have optional parts missing, for instance, my 1977 Fender Stratocaster doesn’t have its original bridge cover but, let’s face it, does it really matter? It may be another ‘nice to have’ but it serves absolutely no beneficial function.

1977 Fender Stratocaster

Many of the guitars have their original cases but, similarly, many came to me with non‑original or modern cases. While I might like to get vintage original cases for some guitars, that can be inordinately expensive and it kinda messes with originality. Another ‘nice to have’ but not essential. If an occasion comes along to conserve the instrument better, I’ll consider it as and when. It really is the contents that matter.

If I’ve done my buying well in the first place, the acquisition of parts and accessories to restore a guitar to as close to its original condition generally aren’t needed. There are always exceptions to each rule, so it’s on a case‑by‑case basis.

Documentation and Photographs

By now, you’ll have hopefully concluded that they are all in more‑or‑less acceptable playable condition. Everything else is a bonus.

All that is left to do is to document each guitar at this particular point in time. As mentioned above, when the guitars went into storage, they were photographed and their individual characteristics logged onto a comprehensive database. Now, several years later, some of the details on the database can be updated and, where information was missing, new data can be added.

CRAVE Guitars – Database

New photographs have been taken for historical evidence and also added to the database. In the event of some potential future catastrophe such as theft or damage, all the necessary details will be available. Many of the same photographs can also be used on the web site to go with new all‑new features that have been written. I will come back to the web site in due course, so that’s enough on that front for the time being.

In addition, and perhaps more interestingly, this article and the documentation are all part of each these guitars’ long life stories and something that can go with them if and when they ever get passed on. Perhaps for the first time in their long lives, there is a written and photographic moment‑in‑time record for these wonderful heritage artefacts. This extensive task is still only partially completed but there is no ‘burning bridge’ imperative to hurry the task and it can be done at leisure.

The one I couldn’t put down

Rediscovering these lovely vintage guitars all over again was a real pleasure and there weren’t really any major surprises or disappointments. I wasn’t planning on comparing or ranking the returnees. There was, however, one guitar that stood out above all the rest during the process.

It was… drum roll please… the cool 1965 Fender Jazzmaster. It is an all‑original, pre‑CBS standard sunburst Jazzmaster, so there is nothing particularly unusual about it to differentiate it from any other of the period. Once it was resurrected, fairly nearly the end of the programme, it was the one that I just couldn’t put down and I kept playing and playing if for several weeks before I was compelled to move on. The Jazzmaster must have had some fairy dust sprinkled on it for it to stand out from very tough competition.

1965 Fender Jazzmaster

I consider myself to be very fortunate not only to have had all the guitars but also to re‑experience them for a second time. I am therefore largely content with my lot, despite the hellish privations in getting through the wicked times to this redemptive point.

What next?

Well, the obvious next thing to do is to play and enjoy them. That is, after all, the whole point of having these things in the first place, isn’t it? They can’t all be played at once, so organising them so that they can have equal opportunity for playtime will be important.

That brings us back to an oft‑repeated bugbear of mine, which is my priority to refurbish the house’s currently unused cellar to make a safe and secure home for them all. In the meantime, they are arranged not too badly, so they can be accessed without too much heavy lifting.

While I have worked through the vast majority of the repatriated guitars, these only represent about two thirds of all the instruments here at CRAVE Guitars. There are also the other 24 guitars (and counting), some of which could well do with the same sort of pampering that the returnees have had, and some also need similar remedial work to, for instance, frets, electrics, etc.

1967 Gibson Melody Maker SG

I think the cycle of TLC is a continuous one. Once one cycle has been finished, it will be time to start another one. It is a bit like the metaphor of ‘painting the Forth Bridge’, i.e. an on‑going, repetitive and never ending process. Almost the definition of Sisyphean. At least it is a pedestrian task that I can enjoy as therapy from the mad, mad world unravelling outside my little hikikomorian bubble.

While the focus of this article has been on the guitars, there are also effect pedals and amplifiers that need regular attention and some of which were repatriated alongside the guitars. The same basic principles apply to keeping them in tip‑top shape, even though their needs are different.

I don’t need to sell any guitars although a bit of rationalising and trading up may actually be a good idea. The thing is that I’m not one of those people who regularly buys and sells to keep a constant flow of ‘new’ (to me) guitars coming through. I tend to grow an attachment to guitars, and especially these guitars that have been through so much at my expense. There is maybe a small number that I could part with to make space for something else. It’s just whether I can break the emotional ties. Oh, that and the impending global recession will undoubtedly have a bearing on matters.

There will also inevitably be further additions to the ‘collection’ in due course. I can’t see it getting smaller but I can certainly envisage it getting bigger. However, due to the finite constraints of space, time and money, buying anything else is on hold for a while out of plain old and boring necessity.

Help Needed

I mentioned in the last article that vintage guitars, effects and amps need expert attention from time to time to keep them working at their best, so this is basically a reiteration. If there is someone out there with the requisite skillset to help maintain these treasures, and who is local to SE Cornwall in the UK, I would be interested in exploring opportunities. Is there anyone out there attracted to the proposition? If there is, please contact me at the e-mail address at the bottom of every page on the website.

Learning points

Well, having gone through all of the above, I must have learned something, right?

Probably the most important lesson is simply, ‘don’t do what I did’. Don’t store guitars away for long periods, especially in inappropriate environmental conditions. I couldn’t help what happened to me and I did what I had to do using my best judgement at the time. In retrospect, I am not sure what I could have done differently and retain the guitars. I ‘swear to God’ that I don’t ever want to go through that experience again.

The second lesson is ‘to take your time and not rush in’. To do so would risk the integrity of the guitars. After all that time away, a few more weeks waiting to be sorted out made no difference in the big picture. A measured approach worked wonders and also took a lot of the potential stress out of the process. In effect, instead of a single insurmountable task, breaking it down into manageable steps made it more of a therapeutic and cathartic exercise.

The third lesson is to ‘do what you can and do not do any more’. Leave the other stuff to the experts. Be prudent and cautious about what you undertake. Any foolish actions might well prove to be irreversible and therefore regrettable. One also really doesn’t want to make them look like new; they are old and they are meant to look and feel that way. Conserving these artefacts is important, while preserving them (proverbially ‘pickling them in aspic’) is not. Sensitive refurbishment means accepting that what they are is a direct result of what happened to them and to be happy about it. That doesn’t, however, mean that they should now be neglected all over again. They can be played, enjoyed, maintained and kept in good condition, no problem. They’ve survived this long; my job is to ensure that they survive for a long time after me.

That is really it. Three fundamental, profound and straightforward learning points. Simples! The vista of glorious vintage guitars has been re‑opened to me, so that is one thing to celebrate for sure. The haptic experience of playing these gracefully aging instruments has been restored at long last.

Tailpiece

So, that represents some of their story, revealed at long last. After a year‑and‑a‑half, I can finally say that I am relatively pleased with how things are and no longer over‑anxious about what I might find. Why am I not over the moon? Any overwhelming joy or excitement has been surpassed by the detriment of the past decade that I cannot obliviate.

There is still plenty to do, even in one’s splendidly isolated silo of virus‑induced exile. The short‑term aim is largely to continue on the path already set, while also looking forward more ambitiously to the medium‑to‑long‑term future. I have a plan; it is executing the plan that is the problem. That, ultimately, comes down to filthy lucre.

Anyway, that’s two out of the three catch‑up topics now dealt with. I hope you’ll be willing and able to return for another tasty course of ‘whazzup’ delights next month.

Stay safe and hope you continue to survive the coronapocalypse. Remember that the basis of karma is to ‘be good and do good’. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Addiction to false beliefs is equivalent to wronging the world’s rights”

© 2020 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?