ESP LTD XTONE PC-

ESP LTD XTONE PC-1 Semi-Hollow Electric Guitar Natural Gold Hardware


ESP LTD XTONE PC-1 Semi-Hollow Electric Guitar
Our Price: $449.99
List Price: $869.00

Musician's Friend Clearance

Epiphone Limited Edition ES-135 Electric Guitar Blue Burst


Our Price: $449.99
List Price: $1,165.00


Two '57 humbuckers give it miles of rock attitude!

Epiphone Limited Edition ES-135 Electric Guitar Features:

* 2 "Patent Applied For" '57 humbucking pickups
* Laminated maple body with Chromyte center block
* Maple neck
* Rosewood fingerboard
* Dot inlay
* White body binding
* Tune-o-matic bridge
* Trapeze tailpiece
* 2 volume, 2 tone, 3-way switch
* Grover tuners

Guitar Player magazine said, "The ES-135 is a super-versatile ax that fuses the ES-175 traits with aspects of the semi-acoustic ES-335. The result is relentless sustain and slap-your-face presence, the ES-135's gargantuan tones are as easy to ignore as a punch in the gut."

Epiphone Limited Edition ES-135 Electric Guitar Specifications:

* 24-3/4" scale
* 1-11/16" nut width

Musician's Friend Clearance

Epiphone LP-100 Electric Guitar Red


$179.99 - $249.99 -or- $15/mo. - Apply Now!
List Price: $415.00 Savings: $235.01(56%)

Epiphone LP-100 Electric Guitar Features:

* Mahogany neck
* Chrome hardware
* Alder top, mahogany back
* 2 open-coil humbuckers
* 24-3/4" scale
* 1-11/16" nut width

If you're starting to get serious about your music, you'll want the Epiphone LP-100 Electric Guitar. The mahogany body delivers classic solid, heavy tone, while the bolt-on mahogany neck and rosewood fingerboard are easy to play. Features two open-coil humbuckers and chrome hardware. Classic Les Paul design and tone.

Epiphone LP-100 Electric Guitar Includes:

* limited lifetime warranty

Ibanez RGT42DX Electric Guitar

Ibanez RGT42DX Electric Guitar White


$699.99
MSRP: $933.32 Save: $233.33

Ibanez Artwood AW40

Ibanez Artwood AW40 Dreadnought Acoustic Guitar with Solid Sitka Spruce Top Natural Gloss


$299.99
MSRP: $428.55 Save: $128.56

Ibanez RG5EX1

Ibanez RG5EX1 Electric Guitar Grey Pewter



$399.99
MSRP: $719.99 Save: $320.00

Fender Bassman 250/210 Bass Combo Amp

Fender Bassman 250/210 Bass Combo Amp


$629.99
MSRP: $899.99 Save: $270.00

Portable yet loud enough for the gig. Elegant bass amplification designed to deliver full power through 2 Eminence USA-made 10" drivers and a compression driver horn. 250W, real wood cab with removable casters and spring-loaded handles. 3-band EQ with semi-parametric mid. XLR output for recording or PA reinforcement. With horn attenuation, it covers a full tonal range from warm and bassy to bright and edgy.

Yamaha FG730S

Yamaha FG730S Cutaway FG Series Acoustic Guitar Natural


$499.99
MSRP: $799.99 Save: $300.00

Yamaha
In a class by itself. The level of detail and craftsmanship found in the 730S places it among the best acoustic guitars for the money. Features a solid Sitka Spruce top, rosewood back and sides, single cutaway, black and ivory binding on body and neck, and diecast tuners

Ibanez IJX121 Metal Guitar Jumpstart Package

Ibanez IJX121 Metal Guitar Jumpstart Package Triple Black


A step-up guitar that delivers more metal thrash!

The Ibanez IJX121 Metal Guitar Jumpstart Package gives you everything you need to start rockin': GRG electric guitar with hardtail bridge, 15W amplifier, headphones, electronic tuner, gig bag, guitar strap, picks, and an accessories pouch. It also includes an instructional DVD with Paul Gilbert, instruction book, and chord chart.

I bought this guitar in December. It's my first guitar. It has fret buzz and the strings rattle. However, if you're also a beginner and have little to spend (or aren't sure as to your level of commitment to playing the guitar), I'd recommend this as your first guitar. The amount of equipment (the amp in particular) that you get is terrific for the price you pay.

I've had this guitar for 5 months and it's been awesome.

1. Stays in tune for at least a week. 2. I LOVE the neck and smooth frets. 3. The pickups are surprisingly very good. 4. it has a nice RG styling. and 5. It's beautiful! (the silver one at least)

But the things I would change are to get better strings, I got some Ernie Ball reg. slinkys also very nice! And some new pickups if you're planning on staying with this guitar for a while. But at least save them. The dvd was pretty much worthless for me but for a beginner, it could be very helpful. and also, that bassist can play!

Anyways, I'm moving on to an RG3EXQM1 to further my skill. This guitar moved me from a beginner, to a beginner+, then ++, to rookie, that's my rating (at least what the guy at the music shop thinks.)

But this guitar is great for beginners and some pros probably wouldn't even give this a thumbs down (maybe to the side) but not down.


Guitar is surprisingly nice for the money, my only complaint is a bit of fret buzzing. The amp is good for a beginner, nothing spectacular but it does the job well for bedroom practicing. The tuner, strap, pick, and instrument cable are all cheap quality but they work fine. I suggest replacing them. The gig bag is fine, but those are all minor stuff you'll have to replace with pretty much any package. They'll work, but you're much better off spending a few bucks.

The value is great, worth every penny and then some.

Overall, I think this is a very good package for any beginner who wants to start playing electric guitar.

EVH Eddie Van Halen Frankenstein

EVH Eddie Van Halen Frankenstein Replica Electric Guitar Black/White/Red


EVH Eddie Van Halen Frankenstein Replica Electric Guitar Features:

* Body: Ash
* Neck: Maple bolt-on
* Tuning Machines: Schaller
* Fingerboard: Maple w/12" 16" compound radius
* Frets: 21 Jumbo (Dunlop® 6100)
* Bridge pickup: Seymour Duncan® Custom Shop EVH
* Middle pickup: None
* Neck pickup: Seymour Duncan® Custom Shop EVH
* Controls: Master Volume
* Bridge: Floyd Rose® Original Tremolo
* Pickup Switching: 3-way
* Hardware: Aged Chrome
* Strings: GHS .009, .011, .016, .026, .036, .046
* Pickguard: One-ply black
* Scale Length: 25.5" (648 mm)
* Width at Nut: 1-5/8" (41.2 mm)

Eddie Van Halen and Fender have joined forces to bring you EVH® brand guitars, amps and musical products, beginning with a most eagerly awaited musical event: the unveiling of a 300-instrument limited edition run of the Eddie Van Halen Frankenstein™replica guitar.
This red, black and white ash-body guitar has been put through an astounding aging process to replicate the original down to every last scratch, ding and cigarette burn. Fender craftsmen even scoured the land for 1971 quarters just like the original Eddie at one time stuck under the original tremolo bridge to mount near the Floyd Rose® Original tremolo bridge. The guitar features a Seymour Duncan® Custom Shop EVH® humbucking pickup, a single master volume knob (that says Tone ) mounted on a partial black pickguard identical to the original. Leaving no stone unturned, the guitar is complete with a non-functional three-way switch and single-coil pickup that occupy two of the three pickup routs.


It s a phenomenally crafted piece of rock history of guitar history, period and it could only come from Eddie Van Halen and the talented resources of Fender. It simply must be seen, heard and felt to be believed, and it will re-evoke the awestruck wonder and sheer thrill you experienced the first time you saw, heard and felt the incredible musical power of Eddie Van Halen.

EVH Eddie Van Halen Frankenstein Replica Electric Guitar Includes:

* Aged Anvil VH Case, Signed 8X10, Note from EVH, Signed Certificate, The Making Of DVD, Limited VH/EVH Picks

Gibson Les Paul Vintage Mahogany

Gibson Les Paul Vintage Mahogany


The most affordable carved-top GIbson Les Paul!

Gibson Les Paul Vintage Mahogany Electric Guitar Features:

* Carved mahogany top and mahogany back
* '59 rounded Les Paul mahogany neck
* Rosewood fingerboard
* Tune-o-matic bridge with stopbar
* Chrome hardware
* Alnico V BurstBucker Pro pickups
* 2 volume and 2 tone knobs, 3-way switch

The Gibson Les Paul Vintage Mahogany brings together old and new Les Paul features to create a unique and special guitar. The round warmth of a carved mahogany top on a mahogany back first debuted in the famous 1957 Custom Black Beauty. Now we're bringing this fabulous wood combo back with the added vintage edge of Gibson's Alnico V BurstBucker Pro humbuckers. Designed especially for the new Gibson Les Paul Standards, these pickups provide pure tone lovers with stunning humbucking tone on their electric guitars. A '59 rounded Les Paul mahogany neck with rosewood fretboard and trapezoid inlays is fast yet substantial.

Gibson Les Paul Vintage Mahogany Electric Guitar Includes:

* Gibson hardshell case


$799.99 -or- $24/mo. - Apply Now!
List Price: $1,699.99 Savings: $900.00(52%)

Line 6 Spider III 75 Modeling Combo Amplifier

Line 6 Spider III 75 Modeling Combo Amplifier


Like having your guitar-slinging hero personally set up your amp and effects!

Line 6 Spider III 75 Modeling Combo Amplifier Features:

* 12 Custom Amp Models from Clean to Insane
* 7 Smart Control FX (up to 3 simultaneous) including Tape Echo, Sweep Echo, Standard Delay (all with Tap Tempo) Chorus/Flanger, Phaser, Tremolo, and Reverb
* 250 artist-created presets
* 150 song-based presets
* Plus 36 user programmable presets
* Built-in front panel tuner
* 12" Custom Celestion© Speaker
* 75 Watts

The Line 6 Spider III 75 Modeling Combo delivers killer amplifier and effects models, and a ton of presets created by some of the world's most notorious guitar stars from bands including 311, Thursday, Lacuna Coil, Hawthorne Heights, Slipknot, Ash, Albert Lee, Athlete, John 5, and many more!

Line 6 has also given the Spider III 120 another 150 song-based presets—sounds from such classics as No More Tears, Enter Sandman, Stinkfist, Back In Black, Bark at the Moon, and many more! These presets combined with 7 quality effects models, make the Spider III a giant of tone that give you any tone you want, already dialed in. Now you can rule the stage with the Insane model with its truly massive gain or explore your sensitive side in the studio with the Clean model. It's all up to you.

New to the Spider III guitar speaker is a huge range of killer mid-gain guitar tones. A critical advancement was made to the sound and feel of the Spider III line when their discerning panel of artists focused in on the venerable mid-gain" range of tone to deliver the complex, layered and dynamic amp tone we all appreciate from classic and boutique amps.

Amp Models:
Clean: Red LED - Select this Amp Model and adjust the tone controls to get crisp, amazing clean tones, great warm jazz tones, and all the high-end shimmer you'll need with a generous amount of bottom end.

Glassy: Green LED - Line 6 developed this Amp Model to emulate those late 60's and early 70's clean tones. It is like a 1973 Hiwatt Custom 100 with an extended tone control range and tightened up low end.

Twang: Red LED - This Amp Model draws on the mid 60's Fender amps, including the blackface '65 Twin Reverb and blackface '64 Deluxe Reverb. It has classic glassy high-end tone, with some snap and bite.

Twin Twang: Green LED - This Amp Model is based on* a number of vintage tweed amps: a '53 Fender tweed Deluxe Reverb, '58 Fender tweed Bassman and a '60 Gibson Explorer to create a swingin' Rockabilly tone.

Blues: Red LED Based on* a mix of a '65 Marshall JTM-45, a '58 Fender Bassman, a '63 Fender Vibroverb and a Supro, this Amp Model slides between gritty swamp-infected cleans to syrupy smooth, walloping drive tones.

Class A: Green LED - This Amp Model is based on* a fawn Vox AC-30 amplifier with an updated and expanded tone control circuit. It captures that early British pop rock tone that the Beatles and the Stones are so well known for.

Crunch: Red LED - This sound was crafted from studies of the '68 Marshall Plexi 50 Watt. This type of Marshall amp was used by a number of early metal bands. Crunch provides a wider range of tone control settings than the original Marshall amplifier had.

On Fire: Green LED - This Amp Model is based on* a 68 Marshall Plexi 100 watt with a few added extras; The combination of a Variac and the jumped input channels creates that infamous brown sound.

Metal: Red LED - This Amp Model is based on* the Mesa/Boogie Dual Rectifier. Use this Amp Model to get a tight and punchy, high gain Metal sound.

Spinal Puppet: Green LED - This sound was created to be an aggressive high gain Amp Model with a unique Mid control that will sweep though an entire spectrum of tone on one knob. The Mid knob for this Amp Model changes the character of the distortion. When set to minimum, the distortion exhibits Fuzz pedal characteristics. When the Mid is set to noon, it mimics the creamy modern high gain amp tones. And when the Mid knob is turned up to max, it's very much reminiscent of that Class A sound.

Insane: Red LED - This model is a dialed in for shredding" version based on* the Mesa/Boogie Dual Rectifier red channel. It combines the intensity and impact of Metal Red, but delivers more midrange and teeth for that bone-crushing, brain piercing insane grind.

80s Solo: Green LED - The goal with Insane is to provide you with as much input gain distortion as possible short of complete meltdown. You get an obscene helping of distortion, while still retaining tonal definition and character.

Effects:
A great amp isn't the only part of a great guitar sound. With Smart Control FX, an exclusive Line 6 feature that automatically dials in different effect parameters, you spend more time playing and less time tweaking. Simply find the effect that you want, turn the knob to your desired intensity, and you're done. You can even use multiple effects at the same if you wanna get really crazy.

Effects Models (Up to 3 effects simultaneous)
Phaser
Chorus/Flanger
Tremolo
Sweep Echo
Tape Echo
Reverb

Ins & Outs
When you're playing with your band on stage just drag the Line 6 Spider III on stage and crank it up. When it comes time to record, use the headphone/direct out and plug it straight into the mixing board for world-class POD 2.0 direct tone used in pro studios and stages everywhere! You can also use the same out with headphones for practicing in your bedroom. Want to play along with your favorite songs? Plug into the CD/MP3 input and you're good to go.

Plug in and separate yourself from the posers.

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6's sound model development.

Guitar Center's Midnight Madness

Guitar Center's Midnight Madness


Midnight Madness: Sat. June 30th

This Saturday, get in to the Guitar Center store nearest you and save during the Midnight Madness Free For All!

You'll find huge deals on all the top name manufacturers, plus there's gonna be FREE DEALS in every department!*

Free guitars, free mixers, free wireless systems, free keyboard controllers, free tuners, free strings, free stands, free amps and more!

Plus, we're staying open till midnight to give you more time to save on all the top manufacturers: Fender, Marshall, Gibson, DW, Sabian, Korg, AKG, Mackie and more.

And don't miss your last chance to win a fully-loaded 8-passenger tour van free! Get all the details here.

Guitar Center's Midnight Madness Free For All ends Saturday at midnight. Don't miss it!

Saturday, June 30, 2007 · 10am to Midnight

World's Largest Music Gear Company!

Come Shop at the World's Largest Music Gear Company!


Fender Footwear On Sale - Starting At $29.99

Check Out Our Huge Selection Of Rainsong Acoustic Guitars

Gallien-Krueger Brat Pack Half-Stack Bass Amp Package - Only $279.99

Musician's Friend: $100 Coupon

Offer Details:

* Valid on new orders placed online between June 19, and July 3, 2007.
* Coupon will be issued via email on Wednesday, July 17, 2007.
* Coupon is applicable to future orders; not current order.
* Coupon must be redeemed online by July 31, 2007.

GuitarCenter.com One Year Celebration: Get Special Shipping Plus A Chance To Pick Up A $25 Gift Card

The Best Gear and the Best Deals - GuitarCenter.com


GuitarCenter.com One Year Celebration
We’re having our GuitarCenter.com One Year Celebration Wednesday, June 27, 2007!

To kick it off, we’re offering you FREE SHIPPING on June 27, 2007, for online purchases over $29* (some restrictions apply). In addition, we’re giving away $25 gift cards every hour for 24 hours on June 27, 2007. So when you make an online purchase on that day, you are automatically entered to win one of the 24 hourly drawings (based on time of online purchase).

What's happening?

* Free Shipping on orders over $29*
* $25 Gift Card Giveaway


Gift Card Giveaway
We’re giving away one $25 gift card every hour for 24 hours on June 27, 2007.

You are automatically entered to win one of the 24 hourly drawings with your purchase (based on time of online purchase), or you can enter by clicking the "Sign-Up" button below on June 27, 2007.

Sign-ups Start June 27, 2007

Hands-On Product Review: Gibson SG Reissue and Thunderbird Basses

Hands-On Product Review: Gibson SG Reissue and Thunderbird Basses
Two ’60s classics that are still rockin’
By Jerry "Birdman" McCaulley
Gibson SG Reissue and Thunderbird Basses

Gibson has always been more guitar company than bass company. Their basses have mostly been offshoots of guitar designs. Nevertheless, all have been excellent instruments, well made and unique in character. Two of them are extra special—the SG Bass and the Thunderbird—two rock legends from the ’60s that have stood the test of time. I personally have a special fondness for both basses. The SG was my first proper bass, the instrument I learned on. The Thunderbird was my step-up bass and remains my favorite to this day.

The SG Reissue

The SG bass was introduced in the early ’60s as the EB (electric bass) Series. Rockers took to it immediately and when Jack Bruce played it with Cream it gained serious rock cred. Between ’59 and the mid-’60s the SGs went through a number of changes: short scale, long scale; one pickup, two pickups; three knobs, four knobs. There was even a model that came with a fuzz tone circuit and a six-string model. The consistent feature was the SG body shape.

The SG Reissue is the quintessential ’60s short-scale version, combining the best features from the early days: solid mahogany body, set mahogany neck, two pickups, and three controls. The Vintage models had a neck pickup that tended to be muddy. Gibson has solved this problem by redesigning the pickup, thus clearing its voice, and they added a newly designed bridge pickup as well. The Reissue also has the three-knob setup—a volume/volume/tone, instead of the four-knob guitar-type configuration. It’s simple and makes more sense for bass than four knobs.

I opened the case to find a bass that looked pretty much the same as the one I used to own, with the same Heritage Cherry finish. On close inspection, I found the craftsmanship to be flawless. It seemed better to me than I, at least, remembered the vintage model to be. After 40 some years of making the SG Bass, Gibson has perfected the process. One obvious improvement is the hardware. The bridge is heftier and more adjustable than on the vintage SG, and the Shamrock tuners are smoother and more precise.

The neck, as on the SG guitar, is thin and hand-friendly; and the short scale, once you get adjusted to it, plays fast. Of course, the SG body shape has icon appeal, but it is also compact and sculpted from solid, dense mahogany that resonates well. The SG shape works well for bass—it's balanced better than the Les Paul model; and the set neck enhances sustain.

Tonally, it’s an excellent bass for rock. You can dial up the bridge pickup for a grind sound, or use a little of it to add definition to a full, round tone. And with the highs trimmed back and the neck pickup dialed up, it has a buttery smooth sound that is very usable for many kinds of music. All in all, I’d say Gibson should keep reissuing the SG. It has major charms.
The Bird is the word

The Thunderbird is not only among the most distinctive-looking basses ever made, it is also one of the best-playing basses ever. It was the bass I graduated to from the SG. I was a Gibson guy. I was hankering to move to a 34"-scale bass, and the Thunderbird IV had a look I liked. At the time, I didn’t even realize what an exceptional bass it was, but as I improved as a player, my appreciation for the Thunderbird grew.

The current Thunderbird IV is pretty much the same as the ’60s version—the same laminated, thru-body neck; mahogany wings; leaning-back body shape; and the hooked headstock that has sort of a Seattle Seahawks thing. It was a radical look in the ’60s and is still radical today. It’s a look that hard rockers and metal maniacs find fits their style, and it is a bass capable of pounding out the heaviest and loudest music.


For me, it isn’t its look that distinguishes the Thunderbird. What matters is its incredible tone and playing feel. It has amazing sustain and a clean, clear tone from the bottom of the fretboard to the top. These can be attributed mostly to its neck-thru construction, but it is really the whole package. The spacing of the two humbuckers, the combination of neck woods, the size of the mahogany wings, its balance—all of these features combine in a bass that can do it all.

From slap to funk, from heavy, grinding metal to the most articulate fusion, the Thunderbird is a bass that sounds fantastic no matter what the musical style. It is also an extremely comfortable instrument. It is perfectly balanced which makes it rest lighter on the shoulder. The two soapbar-style pickups give you comfortable thumb positions forward and back, and the neck is relatively narrow and fast fretting.
Oldies but goodies

Both the SG Reissue and the Thunderbird are bass classics that deserve to be honored for their histories and their unique virtues. If you haven’t had a chance, you should look for the opportunity to give both of them a try. They’re great basses.
SG Reissue:

* Made in the U.S.
* Mahogany SG-style body
* Slim mahogany neck with rounded profile
* Rosewood fretboard with pearloid dots
* 30-1/2" scale length
* 20 frets
* Corian nut
* Chrome hardware
* Shamrock tuners
* Vintage-style TB Plus Bass humbucker (neck); Bass Mini-humbucker (bridge)
* Controls: 2 volume, 1 tone
* Hardshell case

Thunderbird IV:

* Made in the U.S.
* 9-ply mahogany and walnut thru-body neck
* Mahogany wings
* Ebony fretboard
* 34" scale
* Black chrome hardware
* Black top-hat knobs with inserts
* Schaller tuners
* 3-way adjustable tailpiece
* TB Plus humbucker pickups
* Controls: 2 volume, 1 tone
* Hardshell case

G&L ASAT Bass Guitar

G&L ASAT Bass Guitar
Irrefutable proof that Leo Lives!
By Louden Wylde

Leo Fender and George Fullerton launched G&L in 1980, the culmination of a long career of creating world famous guitars and basses. The G&L instruments represent the full flowering of their knowledge and expertise. To put it simply, if you want a bass that represents the very best of Leo Fender, look to G&L. If you want an instrument that is made without compromise, made fully by hand of the finest woods, and which incorporates the most significant advancements in hardware and electronics, again look to G&L.

G&L ASAT Bass Guitar
The ASAT Bass
If it's your time to step up to a dream instrument, one to look at long and hard is the G&L ASAT bass. It combines hand construction, cutting-edge technology, and a vintage vibe that just won't quit. The most obvious feature of the ASAT Bass is its familiar body design. In shape, size, and thickness it essentially has a guitar body, which results in a compact, light, and very comfortable bass. Unlike other basses that have fitted a bass neck to a guitar-sized body, this one looks quite natural and feels balanced.

The instrument I tried out for this review was the alder-bodied version in butterscotch, as classic a color as you can get. What I especially liked was how the tinted, aged color of the neck combined with the butterscotch. Pretty. For clear finishes, the ASAT bodies are made of swamp ash, an equally resonant tone wood, with a more pronounced grain. Also, all G&L basses come in a choice of optional maple tops (premium quilted, premium flamed, and figured).

The neck is especially interesting on these basses-glass smooth and made of a single piece of rock maple. Without an added fingerboard, I wondered how the truss rod had been inserted. I learned that the neck, after it is initially shaped, is cut in half; the tunnel for the truss rod then channeled out; and the two halves put back together. It's done so perfectly that the seam is invisible. According to Leo, this technique makes a neck more resistant to twisting.

The profile and width of the fretboard is wide and flat overall, roomy up high and narrow at the low end. It's naturally playable and easy to get to know. I think a lot of players will find it hand-friendly. G&L also has other neck profile options available for special order.

Deluxe hardware
The tuners used on the ASAT and all G&L basses are of a different order than you find on other basses. Their smoothness, precision, and firmness make a world of difference. They are made of aluminum and steel, so they are especially light, with tapered string posts for easier, even windings, and a proper angle over the nut. Basically, they're the old familiar tuners, but better made.

At the other end is a die-cast bridge that has a number of special features. It's called the Saddle-Lock because of a set screw that locks the saddles together so they won't shift. Once set, the whole bridge is bound together as a single unit which aids vibration transfer. The saddles themselves are made of machined billet brass, which ensures longer wear and minimizes broken strings. On the underside of the bridge, another special feature is hidden from view. It's a side-to-side protrusion that snugly fits into a routed out cavity in the body. This locks the bridge in place and increases direct contact with the endgrain of the wood which again enhances transfer of vibration through the body.




Innovative electronics
The pickups on the ASAT (and on all G&L basses) are another Leo refinement, his last patented pickup. Each has a set of two pole pieces for each string, and they are adjustable to allow for an even balance across the strings. They are hand-wound pretty much in the way Leo made pickups fifty years ago. On the bass, they give you a nice place to plant your thumb for a forward or near-the-bridge hand position.

The pickups are wired to a set of controls that is almost too versatile. It's an active/passive system with three knobs in a rather unique configuration: volume, treble cut, and bass cut. In addition, three toggles give you a slew of wiring options. The forward toggle is a pickup selector for one, the other, or both. The second toggle lets you choose between series or parallel operation, and a third lets you choose active or passive mode. It totals up to 18 tonal options, which is too many, but it's easy to figure out the three or four you need to precisely cover everything from rootsy reggae floor-rattling sub bass to razor-edged slap. If you're one of those do-it-all guys, this is a bass that will cover any style-the only axe you'll need.

Besides being flexible, the ASAT is quiet when cranked, especially when switched parallel. In series mode you pick up some noise because it loads up one of the poles to get that single-coil tone, but it's less noise than you get from straight singles.

Semi-hollow ASAT
In addition to the standard ASAT basses, a new Semi-Hollow ASAT version is now available. It has all the deluxe features as the solidbody ASAT but with a semi-hollow body that makes it a lighter instrument and gives it a slightly warmer tone.

The total package
There are a lot of other little details that add to the ASAT's long list of virtues. Overall, it is a very special bass, one that any player will find thrilling. It has it all: handmade quality, and innovative and refined design in hardware and electronics. It is light, comfortable, easy to play, and loaded with sound possibilities. It's completely modern yet oozes vintage history and tradition. You can't help but love it.

ASAT Bass Features

# Alder body (for transparent finishes the bodies are made of swamp ash)
# Rock maple neck with satin finish
# Available with maple, rosewood, or ebony fretboards
# 34" scale
# 21 jumbo frets
# 1-3/4" nut width
# 12" fingerboard radius
# 2 Magnetic Field Design hand-wound humbuckers
# Mini toggle pickup selector for front, rear, or both
# Active/passive mini toggle selector
# Parallel/series mini toggle selector
# Volume, treble cut, and bass cut knobs
# G&L UltraLite open-gear tuners
# G&L SaddleLock bridge with set screw and nickel plated brass saddles
# 2 rear strap buttons for a choice of balance points

G&L Guitars and Basses

G&L Guitars and Basses
Handmade innovations from the legend builders
by Gretchen Stack and Augie Winters

G&L Guitars and Basses
When Elvis was in grade school, Leo Fender started developing solid body electric guitars. When the King was finishing up junior high, Leo came out with the first practical working musician's solid body electric. Sixteen years later (about the time Elvis was going Girl Happy and entertaining the Beatles) an ailing Leo Fender sold his incredibly successful company for a pretty penny. But he still had a lot of tinker left in him. He regained his health and continued working in the industry, finally starting G&L (George and Leo) with his old friend George Fullerton in 1980. Fullerton had worked with Leo as an engineer as far back as 1948.

Leo passed on in 1991, but not before he'd had 11 years to accomplish the main purpose of G&L-to continue the development of solid body guitars and basses beyond their pre-CBS roots. Judging from the instruments G&L sent us for review, George and Leo's mission has been well accomplished. Gretchen took on the guitars and Augie handled the basses.

Commanding Comanche
The Z-coil pickups are IT! They're the perfect combination of hot single-coil bite and hum elimination. No dummy or stacked coils, just the brilliantly simple idea of two three-string pickups staggered with reversed polarity. They have hand-wrapped coils, ultra-heavy ceramic base magnets, and individually adjustable pole pieces. The result is an amazingly aggressive and stout tone.

The standard five-position blade is greatly enhanced by a mini-switch that adds the options of all three pickups at once or just the neck and bridge. The treble cut and bass cut knobs have a different feel from normal tone pots and actually proved more usable once I got the hang of them. Regardless of tone setting, this is definitely not an axe for players who want to hide in the mix-its bright edge can be softened but never banished to the background.

G&L Guitars and Basses
G&L obviously doesn't skimp on the hardware. The dual-fulcrum bridge vibrato (another later-life Leo credit) is considerably more sturdy than its counterparts of yore, and the locking tuners really stabilize the tuning.

The Comanche I played had a truly gorgeous flamed maple top with a glowing honeyburst finish and faux mother of pearl layered pickguard. Like all G&L bodies, it was a hunky two-piece, made of swamp ash (alder on the opaque finishes). It evinced amazingly precise workmanship, especially considering that all G&Ls are truly handmade-without the use of any computerized equipment. Not for wimps, the Comanche promises a white-knuckle ride that'll leave you panting for more.

S-500 Deluxe
I'm a sucker for a nice neck, and this is bar-none the sweetest neck I ever wrapped my dainty digits around. A gorgeous chunk of birdseye maple was split up the middle, routed for a truss rod, and invisibly glued back together. The fretboard was then crafted right onto the neck with no separate piece of maple. The super-jumbo frets are perfectly polished. The result is visually staggering and truly a joy to play.

G&L Guitars and Basses
The gorgeous cherry finish on the flamed maple top is enhanced by natural wood binding and not hidden by a pickguard. The lighter S-500body shape fit my small frame well and was easy on the shoulder. With the exception of the straight single-coil Magnetic Field Design pickups-which share most of the manufacturing techniques used in the Z-coil-the hardware and setup on the S-500 is identical to the Comanche. I found its tone easier to subdue and slightly less edgy, a real treat to the ears!

ASAT Classic Bluesboy
An MFD single coil at the bridge dishes out Texas twang with a bold burn while the Seth Lover humbucker at the neck can be coaxed into sweet crooning or gravelly Chicago chunk. The turtle pickguard, natural wood binding, and 3-tone burst finish on the model I played created a unique visual vibe that grew on me. Its handmade character is distinctive enough that it's not for every player; but if the chemistry is right it could easily take over your life.

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L-2000
It feels really good to play a G&L. When I first picked up the L-2000, its heft and balance, its deluxe hardware, the glass-like smoothness and beauty of its woods, and sophisticated controls told me immediately that this is a serious instrument.

Like all G&Ls, the L-2000 is a solid, substantial handcrafted bass that has been expertly finished and set up. The body is relatively thick, and when you play it unplugged you can feel its resonance vibrating smoothly and deeply. The string-through-body bridge is massive with a unique set screw on the side that tightens the saddles together to make them into one unit for a better transfer of string-to-body vibration.

I immediately liked the feel of the neck. The frets are jumbos so it plays very light to the touch. It's fairly wide with comfortable spacing between the strings. The vintage-style open-gear machines combine steel and aluminum--light and very high quality.

Plugged in, the L-2000 was immediately impressive with easy action and deep, clear, sustaining notes from bottom to top. And the electronics give you great sound tools. Besides volume, treble, and bass knobs, you can switch it to active, active with treble boost, or passive. You can also switch between or combine the two humbuckers, and you can switch between parallel and series--series adding a nice low-end boost.

ASAT Bass
The ASAT has its own feel, as any handmade bass does, but in general it is similar to the L-2000 in quality, solid feel, and friendly neck. The main difference is the cool vintage body shape. The hardware and electronics are the same as on the L-2000. Both are wonderful instruments that would be a pleasure to own and play. The legend of Leo aside, the G&L basses speak for themselves.

Ibanez Soundgear Basses

Ibanez Soundgear Basses
Well designed, well made, affordably priced
By Jeff Ballard
SR900 Soundgear 4-String Bass
SRX300 Bass
SRX500 Bass
SRX700 Bass

If you haven't played an Ibanez Soundgear Bass yet, you should. You'll be impressed. Soundgears have quietly become one of the top-selling basses worldwide. The reason is simple: more bass for less money. Even the most affordable 300 level models are quality instruments with the construction, woods, hardware, and electronics you'd expect to cost much more.

Bodies

The Soundgears have solid wood bodies, all in the same style—sleek, nicely balanced, contoured for comfort, and not too heavy. Ash, maple, mahogany, basswood, or agathis are used for different models, and this variety of woods gives each its own tonal character. Some models have figured maple tops for showtime looks.

Necks

Soundgear necks are especially distinctive, very thin in profile (22mm at the 12th fret) and narrow in width (62mm tapering to 38mm at the nut on the 4-string basses). They play fast and are especially easy on the hand. Soundgear necks are laminated, which gives them a strength that allows the thin profile. The number of laminations and the types of woods used vary from model to model, and the mid- to upper-end Soundgear models use neck-thru construction for enhanced resonance and sustain. All models are 34" scale with 24 frets and have a gentle 34" radius.

Electronics

All Soundgear Basses feature active electronics for high output and tonal flexibility. Most use an Ibanez 2-band EQ system with stacked knobs so you can adjust both treble and bass without moving your hand. Some models feature a three-band Bartolini system with matching Bartolini pickups.

X-rated

The SRX basses are the wild side of the Soundgear family. They are basically the same as the SR models, with loosely parallel step-up features. The big difference is in the pickups. The SRX models are equipped wtih massive high-output PFR humbuckers with exposed pole pieces. They don't just deliver skull-crushing volume. They do it with tone.

Extensive Selection

The Soundgear Basses featured here are the most popular models but there are many more—23 counting the five-strings—so no matter what your style of music is, what features you especially want, or how much your budget will allow, the Soundgear Series gives you real choices. The lower-level models make great starter basses. They are a popular solution for experienced players seeking a worthy five-string as a second instrument. The upper-level models give pro players ample choices of basses that will more than meet their needs. Essentially there's a Soundgear Bass for every player. Choose yours and get a great deal on a bass you'll love playing.

Line 6 Variax Bass 700

Bass Gear


Line 6 Variax Bass 700
Price: $499.99
List: $1,679.99

24 different voices in one solidly playable instrument!

The Line 6 Variax Bass 700 gives you access to exciting sounds ranging from vintage instruments to modern classics, acoustic basses, and even synth sounds. Exclusive Line 6 modeling technology inside this solidbody bass allows the bass player to just turn a knob and tap into an entirely different sound. Instantly familiar controls work similarly to those of traditional bass guitars. Constructed with alder body, maple neck, rosewood fingerboard, and sealed chrome tuners. Custom-fitted gig bag and direct box included.

Using the optional PODXT Live gives you command of all settings with your foot.

The first modeling bass in the Line 6 stable! The Variax Bass 700 uses patent-pending modeling technology developed for the award-winning Variax line of guitars. Now bass players can have a huge range of sounds in a single, high-quality instrument.

Line 6 Variax Bass 700 Features:

* Line 6 modeling technology
* 24 bass models
* Vintage, modern, hollowbody, acoustic, upright, synth, and other sounds available.
* Works similarly to traditional bass controls
* Alder body
* Maple neck
* Rosewood fingerboard
* Sealed chrome tuners
* Custom-fitted gig bag
* Special direct box included

Hands-On Review: Line 6 ToneCore Pedals and Stompbox Modeler

Hands-On Review: Line 6 ToneCore Pedals and Stompbox Modeler
Special effects that offer endless creative possibilities
Daniel Vincennes

Let me tell you about my favorite word: play. Out of the 85 or so different meanings, I’m talking about play in the sense of exploring, having fun, being spontaneously creative—something that children instinctively do so well, but too many adults have lost the capacity for. Give a kid a toy and watch how quickly they lose themselves in play as they become entranced by the possibilities.

When I get my hands on some new effects pedals, it’s time for me to play. So let’s open the treasure chest of musical toys from Line 6 and see what magic is waiting to be discovered. I’m going to be talking about five effects pedals in this hands-on review: three are Line 6 ToneCore effects pedals: Verbzilla, Echo Park, and Über Metal—all in the proud stompbox tradition of having fun or quirky names.
Line 6 Verbzilla and über Metal ToneCore effects pedals
Line 6 Über Metal and Verbzilla ToneCore effects pedals

Line 6 also has a complete lineup of what they call stompbox modelers that not only faithfully reproduce the effects of classic pedals of the last few decades, but also add some new effects created by Line 6. For this hands-on review I’ll be focusing on two of them: the MM-4 Modulation Modeler Pedal and the DL-4 Delay Modeler Pedal.

Let’s start by briefly exploring the three ToneCore effects pedals.
Modular design

What’s really cool about the Line 6 ToneCore pedals is that they are modular. The components can be swapped out which gives you flexibility in deciding which effects to use. So when you buy the ToneCore pedal that has your favorite effect (Verbzilla, Echo Park, or Über Metal), you get the two main components working as one pedal: the tough-as-nails ToneDock base, which is available with either stereo or mono outputs, and the the pedal’s effects module. Here is where it gets modular: The ToneDock and each effects module—Verbzilla Effects Module, Echo Park Effects Module, and Über Metal Effects Module —are also sold separately. Here’s the formula that shows how ToneDock and effects module both are included in the ToneCore pedal:

You can remove any effects module from the ToneDock and put a different module in its place. You can mount any of the ToneCore Pedals to your pedalboard and easily customize your effects palette by swapping out effects modules from the ToneCore base. You’re playful inner-self is saying: “Collect the whole set of effects modules, trade ’em with my friends!”
ToneCore Modular Design
Verbzilla and Echo Park

Most user manuals that come with consumer electronics and musical products are not too user-friendly. Let’s face it, some are downright impossible to read. But I have to tell you that I had a good chuckle while reading the playful Line 6 Pilot’s Handbook for Verbzilla, the newest ToneCore effects pedal. It describes what was probably the very first sound effect: the reverberation that Cro-Magnon man heard when he clashed two rocks together inside his home. Line 6 describes Verbzilla’s Cave setting as follows: “Surreal cavernous echo chamber. ‘I’m just a simple caveman. . .Your world frightens and confuses me’. . .what more can be said.” Compliments to Line 6 for keeping their Pilot’s Handbook breezy, yet super informative, and for keeping their ToneCore effects pedals super functional.

I installed the ToneCore Verbzilla Pedal on my pedalboard and began exploring the 11 types of reverb including vintage spring and plate reverbs, room, chamber, hall, and echo (for this effect, it’s a distinct repeat of the sound and includes the indistinct repetitions of reverberation). Verbzilla also let me control how much reverb (Mix), how long before the reverb kicks in (Time), how long it takes to fade out (Decay), and how dark or bright (Tone).

The ToneCore Echo Park Delay Pedal is a veritable sonic playground offering tons of sound and control flexibility. I tried each of the three types of echo (tape, digital, analog) that can be tailored with Mix (how much) and Repeat (how many echoes). A really cool feature on both Verbzilla and Echo Park is Trails which lets the reverb naturally trail away instead of abruptly disappearing when you click off the effect.
Über Metal

There’s no mistaking the intent of the ToneCore Über Metal Distortion Pedal. I was in High-Gain City here. In addition to the expected Level, Drive, and tone controls (Bass and Treble), the Mid and Scoop knobs work in tandem so I could achieve the sounds that metal-meisters crave. The heavy metal thunder came pouring from the amp’s speakers as I checked out the Über Metal Pedal’s three sonic settings: Metal, Pulverize, and Insane. All three reconfigure the circuitry to achieve even greater levels of heaviosity. Two noise gate settings helped me keep my sound from getting out of control for those dynamic moments of silence and song endings. The first noise gate adjusted itself to my Drive setting; the second used fast-clamping to add more dynamics to my mute-strummed root/5 power chords.

These are just three of the full range of Line 6 ToneCore effects pedals. You can check out the complete lineup here at Musician’s Friend.
Stompbox Modelers
ToneCore DL-4 and MM-4
ToneCore MM-4 Modulation Modeler Pedal and DL-4 Delay Modeler Pedal

Each of us has our own approach to playing with an effects pedal. Some like to read the manual and understand the function of each knob. Other guitarists start off by trying to re-create effects used on their favorite recordings. Still others just go crazy nuts and turn the knobs every which way just to see what they can do. And you know what? There’s no wrong way to do it. No mistakes, no grades. The Line 6 Modeler Pedals—the DL-4 Delay Modeler and the MM-4 Modulation Modeler—have lots of controls that provided endless hours of tweaking, fiddling, and just plain goofing off with the effects. The goofing off resulted in a couple of effects that I ended up using at a solo acoustic performance at a local coffee house.

The Line 6 DL-4 Delay Modeler lets you tap into re-creations of just about every famous delay pedal from the last 30 years including famous-name tube, tape, analog, and digital delay effects boxes. It also includes a couple of delay effects created by Line 6. At the coffee house, I used the Loop Sampler to capture a repeating two-bar rhythm guitar lick. I then added a simple bass line and a couple of accents to create a bed for some tasty soloing. Once again, I highly recommend reading the Stompbox Modelers Pilot’s Handbook, not because it’s homework, but because it’s fun to read and is very useful, including some settings and sounds to try out. Each modeler pedal has Tweak and Tweez knobs that allow further, uh. . . tweaking and tweezing(?!). The Pilot’s Handbook explains how Tweak and Tweez affect the so`und of each effect setting.

For even more fun, I attached the optional Line 6 EX1 Expression Pedal that let me program to adjust between any two settings that I selected. For example, with Rhythmic Delay, I used the Expression Pedal to vary the Delay Time knob’s rhythm settings to match certain musical passages. For blowing minds, I used the Reverse effect with the Expression Pedal so I could create the reverse tape just-dropped-in-to-see-what-condition-my-condition-was-in effect.
Line 6 EX1 Expression Pedal
Line 6 EX1 Expression Pedal

If you want your music to quiver, warble, flutter, twitter, pulse, throb, undulate, and flow, then the MM-4 Modulation Modeler Pedal is for you. It re-creates an impressive array of modulation effects including tremolos, phasers, flangers, and choruses. Not only can the MM-4 be used with guitars, I found it quite useful with my electronic keyboard, specifically the Rotary Drum & Horn effect that simulates a Leslie speaker. I used the Expression pedal to speed up and slow down the speaker, an expression effect that all great organists should have in their arsenal. A great way to expand your sound onstage is to use the stereo output to an amplifier on both sides of the stage. I used the Panner setting of the MM-4 Modulation Modeler to play call-and-response guitar parts, I timed my playing so that an upper E chord came out of the amp on stage right while an echoed (using the DL-4) hammered-on A chord came out of the amp on stage left. Using the Expression pedal I was able to slow the panning to match the slowed-down tempo of my playing.

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Hands-On Product Review: Ovation VXT Hybrid Guitar

Hands-On Product Review: Ovation VXT Hybrid Guitar
Acoustic? Electric? Fantastic!
By Jimmy Nichols
Ovation VXT Hybrid Guitar

When I was a kid, I was fascinated by objects with more than just one functionality. I think it had something to do with my love of superheroes—seemingly ordinary guys who could change clothes and save the day in one breath. Transformers? Loved ’em. Who doesn’t get excited about a truck or jet plane that can turn into a robot? Hypercolor shirts? Yes! Those awesome part-boat/part-Jeep amphibious military vehicles? Still want one today. Who needs roads when you can drive over logs and float across lakes?

After playing the VXT Hybrid, I came to the conclusion that the acoustic-electric gurus at Ovation must have a similar obsession with duality. The VXT successfully blends the play, feel, and sounds of an electric and an acoustic guitar into one instrument. No doubt about it, the VXT is the one axe you can walk into any gig with and know you’re ready to rock. Or twang or bop or get all sensitive; pretty much whatever your musical predilection/style demands.
Innovation is a tradition

Ovation’s expertise in acoustic amplification is unquestioned. It was one of the first companies to put piezo-based electronics into a flattop, steel-string acoustic guitar and develop the signature offset multisoundhole design and legendary Lyrachord bowl back, all in the pursuit of great amplified acoustic tone. The long list of Ovation players over the years would strongly suggest they’ve hit the mark. And while they may be known today as the acoustic-electric guitar company, during the ’60s and ’70s, Ovation also produced electric guitars and basses that featured innovations like active electronics, onboard effects, extra strings for autoharp-type sounds, and fretless basses. Ovation has never stopped challenging and changing the unwritten rules for building guitars.

Birthed from this excellent bloodline, the Ovation VXT starts with classic tonewoods used for both electric and acoustic guitars: mahogany, spruce, and rosewood. Those core building blocks are then shaped into an instrument that is essentially both acoustic and electric at the same time. One piece of solid Honduran mahogany is carved into a slender neck and topped with a smooth rosewood fingerboard. Another piece of solid mahogany is carved into a one-piece, slim-line hollowbody and topped with premium solid spruce. It’s the guitar equivalent of a deluxe double-scoop chocolate ice cream cone with sprinkles.

The body shape is reminiscent of the famous and familiar Ovation cutaway acoustic profile, but a bit smaller. It also takes some design cues from the old Ovation Viper, one of the electric guitar models produced by the company during the ’70s. The chambered body is fitted with Seymour Duncan ’59 humbuckers, a Fishman power bridge, Ovation VIP preamp, and four controls: a three-way pickup selector, volume knob, tone knob, and output blend knob.


The VIP technology installed on the VXT is the invisible hero, although I doubt it will remain unsung for long. VIP stands for Virtual Image Processing and is Ovation’s first and remarkably successful foray into DSP-based acoustic sound modeling. A sound image is created using top-shelf guitars and studio gear and then stored in the DSP banks of the VIP. As you play, the VIP takes the signal from the under-saddle pickup and blends it with the stored guitar image, so you get the output of a guitar recorded with high-fidelity gear in an optimal acoustic space. Pretty nifty.

The VXT uses a single stereo 1/4" jack to deliver its acoustic and electric sounds. The mix knob controls a special pot which blends the acoustic and electric output of the VXT’s electronics. Turn it to the south for acoustic; crank it to the north for electric. In-between those two great-sounding sonic poles live an array of happy mediums. Instead of having to juggle an outboard unit or use special dual outputs to blend the sounds, the "mix" is right onboard, making great sound easy. You can, however, split the output to separate signals for added flexibility.
Two-sided tonality

Ovation worked closely with their sister guitar company Hamer to design and build the VXT, and you can tell when you pick it up. It walks the line between electric and acoustic perfectly, and nowhere is this more evident than the neck. Thin from front-to-back, it has the width of an Ovation acoustic with the low action and fast feel of a Hamer electric. From the very first chord, the neck profile, 25" scale, and medium frets feel comfortable. The back has contouring taken from the Ovation acoustics that makes it easy to hold close whether you’re sitting or standing.

The chambered mahogany body and solid spruce top produce a very warm, clear tone that’s evident even when unplugged. Plugged in, the Duncan ’59s translate that natural tone beautifully while adding the sort of harmonic sparkle and full-voiced richness you’d expect from premium ’buckers—the sort of sounds nearly every player wants from their electric axe.

Then the moment of truth. I turn the mix dial down to reveal the full VIP output and out comes a detailed acoustic sound with depth completely free of piezo squawk. With the twist of a single knob the guitar transforms from sweet semi-hollow electric to rich acoustic. Blending the two output signals gives me tons of interesting tonal combinations that could keep me busy with jazz, country, pop, and rock licks for hours. The VXT is a premium guitar—period. Its hybrid acoustic and electric sounds are just icing on the cake.
Features & Specs:

* Solid spruce top
* One-piece chambered mahogany body
* One-piece mahogany neck
* 1-11/16" nut width
* Rosewood fingerboard
* Pearl dot fretboard inlays
* 25-1/4" scale length
* Fishman Power Bridge
* VIP DSP-based microphone imaging preamp
* Volume, tone knobs
* 3-way pickup select (humbuckers)
* Blend knob (acoustic-electric output)
* 1/4" TRS output jack
* Splittable acoustic-electric sound (with optional stereo cable)

Fender Blues Junior Combo Amp

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$399.99
MSRP: $569.99 Save: $170.00

Big bluesy tone in a small package! The Fender Blues Junior Combo Amp is a great practice or studio amp. Its all-tube preamp and power amp circuitry create fat tone at moderate volumes. Delivers 15W through a single 12" speaker. Features a Fat switch, spring reverb, black covering, chicken head knobs, and footswitch jack for Fat on/off.


I have owned a number of amps from a Twin to Peavey Delta Blues. I need a lightweight tube amp and this one has lived up to all my expectations. I play a Strat and Les Paul and the amp sounds very good with both although the Strat seems to be better paired with the Junior than the LP sound which seems to sound a little harsh with this amp.


I bought this amp after hearing numerous reviews from local players, and reviews on the internet and such...and this is definitely a great buy! Definitely has the vintage tube sounds. I play a lot of classics like Hendrix and SRV and Clapton and such, and it was very easy to imitate the different guitar sounds from those particular artists. I have two strats, a cheap Squier and a Mexican fender (soon to have a highway one hehe) and they both sounded outstanding. The clean is beautiful and the overdrive is awesome! If you ever get a chance to crank this bad boy please be sure you do haha. I don't really recommend this for anything other than blues, jazz, or rock styles but I suppose you could try if you play metal or something...I don't make the rules. Definitely doesn't have the versatility of a solid-state amp, but it does what its meant to do. The only problem I had is that it has very trebley sound, which is partly from the tubes which give it that distinct vintage tone, but I personally just prefer not so much high end. Overall a great buy....definitely get yourself one!


I've been playing for 10 years, but only now did I decide on a whim to buy an amp. This is definitely the best $400 I have ever spent on any piece of gear. Incredible value.

I'm basically 66% SRV clone in my playing style by preference, but I incorporate more melodic soloing and jazz chords. I play a vintage Gibson '65 ES-330, which sounds excellent through this amp.

This amp is not versatile, per se, but it nails the blues tone as advertised. The EL-84's really cook nicely when cranked, cleaning up fairly well with the guitar's volume knob. It doesn't have a lot of clean headroom, but this could possibly be rectified by relatively inexpensive mods found online, a new speaker, and/or new tubes if that's what you really want (and at 15 watts you can only expect so much headroom). I personally really like the sound; it responds very well to playing dynamics. There is some annoying hum when cranked, but I understand this is very difficult to eradicate. The reverb is more than adequate for my needs -- anything over 6 o'clock on the dial is overkill.

This amp is perfect for blues players and non-death-metal rock players. Jazz players can mod this very cheaply to suit their needs as well, although it's not a Twin.

Squier® Vintage Modified '70s Jazz Bass

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$279.99
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A retro inspired funk machine that anybody can afford. The Vintage Modified '70s Jazz Bass from Squier features a one-piece hard maple neck, maple body, and Duncan Designed Jazz Bass pickups. It can deliver punchy tone for the ultimate funk sound whether you play fingerstyle or slap-n-pop. Black binding and block inlays, black pickguard, and chrome hardware give it a true-to-the-'70s visual style.

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Squier® Stop Dreaming Start Playing SE Special Strat Pack With Squier SP-10 Amp

Squier Stop Dreaming Start Playing SE Special Strat Pack With Squier SP-10 Amp Arctic White



Turn your rock dreams into reality with this complete rig!

This Squier Stop Dreaming, Start Playing guitar and amp package includes a Squier SE Special Strat and a SP-10 combo amp, plus an instrument cable, electronic tuner, instructional DVD, guitar stand, gig bag, and pick assortment.

The Squier SE Special Strat Electric Guitar combines 3 single-coils and 5-way switching for great tonal range. It also has a solid agathis body with shell pickguard, 21-fret rosewood fingerboard with dot position inlays, die-cast chrome tuners, and standard fulcrum tremolo bridge.

The Squier SP-10 amp controls include volume, treble, bass, and an overdrive on/off button that delivers tube-like tone. A headphone output allows silent practice. 10 watts drive a 6" speaker and the amp has a tough textured vinyl exterior.

Squier® Stop Dreaming Start Playing SE Special Strat Pack With Squier SP-10 Amp Features:

* SE Special Strat
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* 3 single coil pickups
* 5-way pickup switch
* Chrome hardware
* Tremolo bridge

SP-10 Combo Amp
* 10 watts
* 6" speaker
* Overdrive switch
* Volume, Treble and Bass controls
* Headphone output

Aria MAC-50Q Series Electric

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Tap into the power, revel in the beauty.

See-through colors reveal a gorgeous quilted top on the alder body. The 24-fret maple bolt-on neck with rosewood fingerboard has a heel-less joint for unencumbered fret access. The Aria MAC 50 guitar has a humbucker and 2 single-coils with coil tapping that provide ample tone variety while the tremolo bridge let's you dive bomb all night while staying in tune.

Aria MAC-50Q Series Electric Guitar Features:

* Body: Alder, Carved Top, Quilted Gravure
* Neck: Maple, Bolt-on, Heel-less joint
* Fingerboard: Rosewood
* Frets: 24F
* Scale: 648mm(25-1/2")
* Pickups: OS-1 Single Coil x 2, OH-1 Humbucker x 1
* Controls: Volume x 1, Tone x 1, PU Selector Switch x 1, Coil Tap Switch x 1
* Tailpiece: VFT-1 Tremolo
* Hardware: Gold

Fender American Vintage 1957 Limited Edition Commemorative Stratocaster Electric Guitar

Fender American Vintage 1957 Limited Edition Commemorative Stratocaster Electric Guitar White Blonde



SAVE $685.71 (29%) When You Buy Today!
List: $2,285.70
Sale Price: $1,599.99


To celebrate the '57 Stratocaster turning the big 5-O, Fender is rolling out the iconic electric guitar in a limited edition with a popular guise: white blonde with gold hardware. These Strats also include a special commemorative neckplate and will only be produced in 2007. The neckplate features the silhouette of a Stratocaster with the 50-year anniversary dates: 1957 & 2007. Although the Strat officially debuted in 1954 with an ash body, and U-shaped neck, 1957 was the year that the specs of the Stratocaster guitar as we know it today all came together including alder body and V-shaped neck. The Limited Edition Stratocaster is the perfect guitar for players who want the classic look and vibe, but with high performance modern features as well. These features include huge frets, 70s styling, and AlNiCo 3 pickups. The Anniversary American Vintage Strat is a player's guitar, and sports the signature toneful Fender satin lacquer finish.

Fender American Vintage 1957 Limited Edition Commemorative Stratocaster Electric Guitar Features:

* Made in Corona, CA.
* Body: Comfort Contoured Alder Body
* Neck: 1-Piece Maple, "V" Shape, (Nitrocellulose Lacquer Finish)
* Fingerboard: Maple, 7.25" Radius (184mm)
* Frets: 21 Vintage Style Frets
* Scale Length: 25.5" (648 mm)
* Nut: 1.650" (42 mm)
* Hardware: Gold
* Machine Heads: Fender/Gotoh® Vintage Style Tuning Machines
* Bridge: American Vintage Synchronized Tremolo with "Ash Tray" Bridge Cover
* Pickguard: 1-Ply White, (8 Hole)
* Pickups: 3 American Vintage Strat® Single-Coil Pickups
* Pickup Switching: 3-Position Blade:
* Position 1. Bridge Pickup, Position 2. Middle Pickup, Position 3. Neck Pickup, (5-Way Switch Included in Kit)
* Controls: Master Volume, Tone 1. (Neck Pickup), Tone 2. (Middle Pickup)
* Colors: (801) White Blonde, Alder Body
* (Nitrocellulose Lacquer Finish)
* Strings: Fender Super 250R, Nickel Plated Steel,
* Gauges: (.010, .013, .017, .026, .036, .046),p/n 073-0250-006
* Unique Features: "V" Shape Maple Neck, Commemorative neckplate, Vintage Styling, gold hardware.
* Source: U.S.
* Accessories: Vintage Tweed Case, Strap, Cable, 5-Position Switch Update Kit, Meguiar's Mist and Wipe Kit

Paul Reed Smith Custom 24

Paul Reed Smith Custom 24 Electric Guitar Gray Black


A perfectly balanced, visually stunning, sonically overwhelming work of art!

The PRS Custom 24 Electric Guitar is based on the original classic PRS guitars. The perfect combination of woods — maple top, mahogany back and neck, plus rosewood fretboard �