Making its debut in the summer of 1947, Gibson’s BR-9 was a student-level solidbody Hawaiian guitar that quickly became the company’s best-selling lap steel. The first BR-9 steels featured a gloss ivory finish with Cremona brown appointments and were outfitted with a single P-90 pickup with non-adjustable pole pieces. The P-90 pickup was updated in 1951 to the adjustable pole piece variant, and the gloss ivory was abandoned for a textured off-white finish in 1954.
This BR-9 steel is one of nearly 1500 to have shipped in 1951, but as it was made early in that year, it features the non-adjustable pole-piece variant of the P-90 pickup. The instrument is in wonderful condition and is paired with an equally clean matching Gibson BR-9 amplifier. While the BR-9 lap steel is far from rare, it is certainly uncommon for us to come across a first-version amp and steel set. The steel is all original, apart from its replacement jack plate.
Gibson’s BR-9 amplifier features an 8″ speaker and roughly 10 watts of power. The original Rola field-coil speaker is dated to the 50th week of 1950, suggesting an early ’51 completion, just like the steel. Recently serviced by Toronto’s Dom Tantalo, this amplifier works perfectly and sounds great.
With its very clean original case, this Gibson BR-9 amp and steel set is an incredibly handsome package.
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The single-pickup ES-330T was offered between 1959 and 1963 and among the rarer models produced during that Golden Era of Gibson electric production. The double-pickup ES-330TD was built in far greater numbers during those same years and remained in the catalog into the mid 1970s.
An all original and incredibly clean guitar, this 1960 Gibson ES-330T is an exceptional example of the model. The 65-year-old guitar is in far above average condition. The original Sunburst finish presents beautifully, with finish crazing and minor chips and scratches being the only signs of the instrument’s age. The nickel plating on the hardware shows mild tarnishing but is overall in excellent condition. There is minor fret wear to the first seven frets that does not have a noticeable effect on playability.
The single “dog-ear” P-90 positioned in the middle of the guitar offers a rich and dynamic voice with excellent note separation and clarity. With plenty of power in the tank, this guitar can push the front end of an amp beautifully if desired. It’s a surprisingly versatile instrument, given its one-pickup setup, and is among the finest electric rhythm guitars that Gibson ever produced.
Scale length of 24-3/4″, 1st fret depth of 0.795″, 12th fret depth of 0.888″. Pickup DC value of 8.3 kOhms. Weight of 5lbs 6oz. Fully hollow-body construction with laminated maple top, back and sides; mahogany neck; and rosewood fingerboard and bridge.
With original chipboard case.
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1964 Fender Jazzmaster
By the late 1950s Leo Fender and company had experienced a great deal of success with their electric Spanish solid body instruments. However, despite the overwhelmingly positive reception to the Telecaster, Stratocaster, and Precision Bass models, the lack of uptake of Fender instruments by professional jazz guitarists did not go unnoticed by Mr. Fender and his associates.
In an attempt to lure high profile jazz guitar players, Fender designed a new solid body guitar that was not-so-subtly dubbed the “Jazzmaster.” Making its debut in the summer of 1958 billed as “America’s Finest Electric Guitar,” the Jazzmaster employed several features intended to meet the demand of upscale players. The Jazzmaster was the first Fender guitar to sport a rosewood fingerboard, a feature that would be adopted by the rest of the company’s range by the end of 1959. A newly designed wide single pickup offered a warmer response, that Fender felt would be more appealing to a jazz guitarist than their Stratocaster and Telecaster pickups. Perhaps the most notable feature of the Jazzmaster was the offset-waist body design, intended to offer improved comfort when playing the instrument in a seated position. While the model was intended for the jazz market, the traditional leanings of jazz guitarists and their affinity towards hollowbody instruments built by other companies resulted in the model’s sales falling short of expectations with its intended audience. However, the Jazzmaster found an unexpected home in the hands of a number of guitarists in a new up-and-coming genre of popular music: Surf. From there, the rest is history. And while the Jazzmaster is still not highly regarded as a Jazz box, today it’s popularity spans many genres of contemporary music.
An excellent example of a Jazzmaster from the “Pre-CBS” period, this Autumn ‘64 build is an entirely original instrument apart from a recent professional refret with vintage spec wire. The original shrunken pickup height foam has been replaced and stored in the case pocket. A well-loved guitar, this 1964 Fender Jazzmaster shows some great looking one-owner finish wear on its body front, marking its countless hours of music making. Unlike its front-side, the body’s back finish remains vibrant.
The pair of original and unmodified grey-bobbin pickups (7.6K neck, 7.9K bridge) sound heavenly, offering a warm, harmonically rich response with strong mid-range support and all of the string separation and articulation that Jazzmasters are known for. The C-shaped neck measures 0.791″ at the first fret and 0.921″ at the twelfth, and has Fender’s standard 1-5/8″ nut width. It’s a comfortable carve and easy to play. The weight is a respectable 7lbs 15oz, adding to this guitar’s comfort over long playing sessions.
Neck date of June 1964 (4 Jun 64 B). Visible pot codes dated to the 21st and 11th weeks of 1964 (304-2164, 137-6411). Pickup dates of October and November of 1964.
With original hardshell case.
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The Firebird VII was the flagship model of Gibson’s then-new line of Firebird guitars upon its introduction in 1963. The guitar boasted three of the newly designed mini-humbucker pickups, a Lyre Vibrola and ABR-1 bridge, gold plated hardware, and an ebony fingerboard with block inlays.
Built in Gibson’s Nashville plant in 2006, this Firebird VII is an excellent tribute to the original “reverse” models produced between 1963 and 1965. The Polaris White finish has already begun to age and darken and the gold-plated hardware against the off-white finish looks spectacular. It’s a particularly handsome instrument.
The three mini-humbucker pickups offer rich, clear tones, with the switching allowing for a wide array of tonal capabilities. The wiring harness on this guitar has been modified slightly to offer individual volume control for each pickup and a single master tone knob, which allows a player to blend all three pickups together in any configuration. While not historically accurate, this easily reversible modification makes the guitar much more versatile than it would otherwise be. In its current state, the treble tone knob functions as a volume for the middle pickup, and the bass tone knob is a master tone.
With a first fret depth of 0.81″, 0.86″ depth at the twelfth, and the standard 1-11/16″ nut width, the neck has a fast and comfortable profile that measures up similarly to Gibson’s 1963 carve. The guitar weighs just under 8-3/4 lbs, which is quite respectable, given all the extra hardware a Firebird VII has.
The guitar shows normal playwear for an instrument that is nearly two decades old. The original frets show some wear but still have plenty of life left, and the guitar is set up nicely with 4-5 64ths action at the 12th fret. There is a small, repaired seam separation between the bass-side wing and the centre of the body at the lower bout that poses no concern to us.
With original hardshell case.
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2017 BilT Relevator Blue Sparkle Lefty
Hand built by Tim Thelen and Bill Henss of Des Moines, Iowa, BilT guitars are highly customizable boutique instruments crafted with meticulous attention to detail.
Sporting a Blue Sparkle finish, this custom ordered 2017 BilT Relevator lefty is a striking guitar that looks incredible in just about any light. Equipped with a trio of Lollar gold foil pickups wired to a 5-way switch and a separate Fender-inspired rhythm circuit, this Relevator is a versatile guitar that offers a wide array of tonal variety.
Alder body and maple neck with a bound rosewood fingerboard. Scale length of 25-1/2”. 9.5” fingerboard radius. First fret depth of 0.823”, twelfth fret depth of 0.939”, nut width of 1-11/16″. Pickup DC values of 8.4 in all three positions. Weight of 9lbs 5oz.
A fun guitar with a great feeling neck, excellent trem feel and tuning stability thanks to its Mastery bridge and trem system, and some uniquely cool looks.
With original hardshell case.
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1982 Fender AVRi ’57 Stratocaster “Fullerton”
The American Vintage Reissue guitars produced in Fender’s iconic Fullerton factory marked the company’s first attempts to recreate their golden-era guitars produced in the 1950s and early 1960s. This line of guitars consisted of three models – a ’52 “Blackguard” Telecaster, ’57 maple-neck Stratocaster, and a ’62 rosewood board Stratocaster. Fender studied many original examples while designing the line in an attempt to make the models as close to vintage spec as was then logically possible. While these guitars are not entirely accurate to their vintage counterparts, they are excellent instruments that bear great historical significance with their ties to the Fullerton plant and their place in reissue vintage guitar lineage.
Built in 1982, this first-year Fullerton Reissue ’57 Stratocaster is a commendable initial attempt at recreating the iconic maple-neck Stratocaster of the late 1950s. Boasting an attractive and beautifully preserved two-tone Sunburst nitrocellulose finish with minimal signs of wear throughout, this 1982 Strat presents very well. The guitar is entirely original and without repairs or modifications. It plays well across the fingerboard despite even, light fretwear throughout.
Equipped with a trio of grey-bottom pickups dated to 1982, this guitar offers classic ’50s inspired Stratocaster tones. The pickups are wired to a 5-way switch making this Strat more versatile for the modern guitarist. The soft V neck carve, with a first fret depth of 0.806″, twelfth fret depth of 0.860″, and a nut width just shy of 1-5/8” is quite comfortable while being notably smaller than a typical 1957 neck profile.
With great playability, excellent tone, and some very cool ties to Fender history, this guitar is a great choice of Stratocaster for players and collectors alike.
Scale length is 25.5”, pickup DC values are 5.6K in the neck, 6K in the middle, and 5.8k in the bridge. Weight of 6lb 14oz.
With original hardshell case.
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2018 Fender Custom Shop 1960s Telecaster Relic, Blue Sparkle
A stunning offering from Fender’s Custom Shop, this 2018 1960s Telecaster Relic in striking Blue Sparkle finish is sure to stand out on any gig.
Inspired by the Telecaster guitars built throughout the 1960s, this Custom Shop Tele combines an array of 1960s specs that add up to a unique and exciting build. The guitar’s neck has a 1963-inspired carve and a maple cap fingerboard, a feature that first appeared on Fender guitars in late 1964. Equipped with Custom Shop Hand-Wired ’67 Tele pickups in both neck and bridge positions, this guitar delivers a response inspired by the Telecasters of the early CBS era – full-bodied with excellent clarity and articulation. With a lightweight ash body, the guitar tips the scales at a comfortable 7lbs 4oz and is wonderfully resonant.
In great shape overall, you’ll find some light play wear that seamlessly blends with the Custom Shop’s relicing. The guitar has been freshly set-up in house and plays cleanly across the fingerboard despite moderate fretwear throughout.
Scale length of 25-1/2”. First fret depth of 0.848”, twelfth fret depth of 0.971”, nut width of 1-21/32″. Pickup DC values of 5.6K in the bridge and 6.5K in the neck.
Added up, this Telecaster is a wonderful imagining of a vintage Fender guitar that never existed, paying tribute to the Telecasters of the 1960s in an exciting and creative manner.
With original hardshell case and Certificate of Authenticity.
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The Gibson Les Paul Custom made its debut in late 1953 as the flagship offering in the company’s line of solid body electric instruments. While the Les Paul Custom underwent several design changes over the coming years – including a complete redesign to the “SG” shape in 1961 – the reissued single-cutaway Custom of 1968 with carved maple top and a pair of humbucker pickups has become the standard spec to which the Les Paul Custom is based upon today.
Built in 2019 by Gibson Custom in Nashville, this Les Paul Custom is a finely crafted instrument with excellent fit and finish. This guitar presents in near-mint condition with virtually no signs of playwear to speak of. The original full-height frets are unworn, the gold hardware is untarnished and there are no notable blemishes to be found on the guitar’s stunning Wine Red finish.
Outfitted with Gibson’s 490R (7.9k) and 498T (13.9k) pickups, this Les Paul Custom delivers warm, full-bodied humbucker tones with excellent power that push the front end of an amplifier beautifully. The ’60s inspired C neck carve with a first fret depth of 0.828″, twelfth fret depth of 0.991 and a 1-11/16″ nut width fills the hand comfortably while not being overly large. The guitar weighs a respectable 10lbs.
With original hardshell case and CoA.
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The Gibson Super 400CES made its debut in 1951 as the flagship electric guitar model in the company’s catalog. The 18” wide Super 400 archtop had been the company’s most prestigious offering since its inception in 1938, and the electrified Super 400 CES of the early 1950s was designed to be the equivalent in Gibson’s line up of electric instruments. While the model went through several design changes throughout the following years and decades, the most iconic version of the Super 400 CES was the PAF-equipped variant built between 1957 and 1960.
Based on the Gibson Super 400 CES guitars of the late 1950s, this 1999 build features a rounded venetian cutaway and a pair of vintage-voiced PAF humbucker pickups. This exquisite instrument is crafted with a carved Sitka spruce top, beautifully figured maple back and sides, and a three-piece maple neck with two walnut streamers. An ornately adorned instrument, this guitar is appointed with multi-layer binding throughout, split block fingerboard inlays, split diamond inlays on both the front and back of the headstock and gold-plated hardware including hand-engraved Super 400 tailpiece and Kluson Sealfast tuners.
Like many guitars of this quality, this Super 400 has been meticulously cared for over its now 25 years of life. The finish, gold-plated hardware, and frets are all in excellent condition with very little wear to speak of. The only evidence of the guitar’s age comes in the form of minor finish crazing and some small sections of chipped finish along the bottom edge of the fingerboard binding, all of which is common to see on a Gibson instrument from this time period.
Equipped with a pair of Gibson ’57 Classic pickups that measure 8.7k in the neck and 8.6k in the bridge, this guitar offers rich and full-bodied humbucker tones that are complemented wonderfully by the open and airy sonic characteristics imparted by the instrument’s fully hollow 18″ body. The 25-1/2″ scale length provides a subtle but present clarity to the guitar’s response that can be lacking in some Gibson models, resulting in a defined note separation that lends itself well to chord melody arrangements and lead playing. Featuring a C carve, 1-11/16″ nut width and a depth that tapers from 0.803″ at the 1st fret to 0.925″ at the ninth, the neck has a comfortable profile perfect for making complex chordal shapes and fast lead lines up and down the fingerboard while retaining a relatively full feel.
This Super 400CES is a one-owner instrument. It’s been setup in our shop and is strung with 12-52 flatwound strings and a fast Jazz action. It previously had a Bigsby tailpiece mounted, any evidence of which is hidden by the original tailpiece, now reinstalled.
With original warranty card (matching serial number) and original hardshell case.
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The Gibson Tal Farlow Artist model was a short-lived 17” electric archtop that featured a distinctive faux-scroll venetian cut-away and unique pickguard. Tal Farlow was a well-respected jazz guitarist whose fame peaked in the 1950s, a few years prior to Gibson’s release of his signature model in 1962. However, Farlow wasn’t performing much through the 1960s, which is likely one of the reasons the Tal Farlow model’s sales didn’t live up to expectations. The model was discontinued in 1967, with a total production of just 215 instruments.
A fine example of a Gibson Tal Farlow model and previously part of the Joe Bonamassa collection, this guitar remains in very good condition and is completely original apart from a professional refret and nicely made replacement nut. The Viceroy Brown finish is wonderfully preserved throughout the body, with light finish crazing and only a few minor chips and dents. The neck shows ample playwear, with the finish mostly worn away between the 2nd and 9th frets. With a neck constructed of laminated maple, the worn-in feel is akin to the smooth and fast feel of a well-played vintage Fender neck.
The original unmodified Patent Number pickups are a remarkably great sounding pair of humbuckers. In the bridge position this guitar offers a rich voice with excellent clarity and note separation. The neck pickup delivers a warm response with airy overtones. The pickups are perfectly balanced with one another, offering the ideal tonal variation from treble to bass.
With a lean neck carve and new frets that play perfectly across the fingerboard, this Tal Farlow offers a fast feel that is incredibly enjoyable. Weighing a comfortable 7lbs 7oz, this guitar can be gigged for hours on end without any discomfort.
Scale length of 25.5″, 1-9/16″ nut with, first fret depth of 0.810″, twelfth fret depth of 0.939″. Pickup DC values of 7.8k (neck) and 7.7k (bridge).
With original hardshell case.
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c.1935 National-Dobro 6107A Amplifier & Electric Hawaiian Steel Set
The first half of the 1930s brought with them the earliest days of amplification and a quick evolution of both guitar and amplifier design. Rickenbacker’s first Frying Pan steels were marketed in 1932 and are generally considered to be the first commercially produced electric guitars. Some four short years later, Gibson’s ES-150 was the first commercially successful true “Spanish” guitar to incorporate a pickup system.
National and Dobro were both very much in the ‘Make-Guitars-Louder’ game and, after the two companies rejoined in 1932, great effort was made to get a jump into electrically amplified instruments. The company’s 6107A Amplifier was likely first offered in 1933, making it one of the very earliest guitar amplifiers ever made. The Electric Hawaiian Steel appears to have been introduced in 1935 and featured a blade pickup with horseshoe magnet very much like the unit found in Rickenbacker’s Electro A-22 “Frying Pan” guitars. This steel carries the serial number N274. It is of the first variation of the model and features only a volume control and no pickup height adjustment. Apart from a home-job tuner button replacement on the 3rd string and the original owner’s SSN inscribed in the headstock this steel is in excellent condition, completely original, and perfectly functional. Its original case is in excellent condition as well.
The National-Dobro 6107A Amplifier is entirely original and in excellent working order. It features a Utah field coil speaker, original RCA tubes, original handle and chicken-foot coverplate. Output is about 5 or 6 watts, and the tone is rich, dark, and creamy. The amplifier’s serial number is 5303, which is likely a Webster Electric number rather than a National Dobro number as the amplifier was manufactured for National Dobro by Webster Electric of Racine WI. We are unable to offer more accurate dating than 1933-5.
This set has been in the original local owner’s family since new. It is a wonderfully preserved set and an excellent example of one of the very earliest electrically amplified guitars and guitar amplifiers. The steel’s original case is included.
