Danelectro Dano Pro Electric Guitar

Danelectro Dano Pro Electric Guitar Tan



Danelectro Dano Pro Electric Guitar
The Dano Pro Electric Guitar is a first-ever reissue based on the guitar model first released in 1959 and sold through the mid-'60s. Just because...
Price: $249.00 Item Ships Free!
List Price: $299.00

ESP LTD EC-500

ESP LTD EC-500 Electric Guitar with EMG Pickups Black


ESP LTD EC-500 Electric Guitar with EMG Pickups
The famous single-cutaway body style never looked better! The EC-500's mahogany body sounds as good as it looks. Featuring an Earvana compensated nut...
Price: $629.00
List Price: $899.00

Gibson ES-339 30/60

Gibson ES-339 30/60 Neck Semi-Hollow Electric Guitar Antique Vintage Sunburst



Classic semi-hollow sound from a solidbody-sized guitar. The ES-339 is the next generation of Gibson's iconic ES guitars with some exciting enhancements including reduced dimensions and weight, Memphis Tone electronics, and the 30/60 slender neck profile.


Reduced dimensions and weight The ES-339 builds on the success of the semi-hollowbody guitars first introduced by Gibson in 1958 with the ES-335. Lighter, more compact and comfortable than a traditional semi-hollow guitar, the ES-339 feels like a Les Paul but sounds like an ES-335. It still retains that distinct semi-hollowbody electric tone that powered so many hit records and landmark performances. If you own a solidbody guitar, the 339 will feel like an old friend.


Memphis Tone electronics Memphis Tone circuitry utilizes 500K audio taper pots that operate with an interactive load that preserves high end as you turn down the volume. The loading effect preserves the full-bodied tone with rich midrange and signing sustain from the '57 Classic humbuckers while adding a very sweet bite. Another difference is the volume is very smooth, rolling off in even increments along with the numbers on the knobs. Since they operate more like how we hear (logarithmically), the controls work the way the player thinks they should. So when the guitarist turns down the volume the highs are still there!


30/60 Neck Developed in assistance from guitar guru Jon Schwartz. The 30/60 slender neck is a '60s style neck with an extra .030" front-to-back to preserve the semi-hollowbody tone, sustain, and feel while providing smooth playability (The rounded '59 neck profile is also available on the ES-339 '59 Neck - product #515255).


Outer rim output jack Here's one ES players have been wanting: The output jack is mounted on the outer rim. No more cable crossing the body, spoiling the guitar's clean looks and and getting in your way.


Two '57 Classic Humbuckers with 3-way pickup selection plus individual volume and tone controls provide the incredibly versatile sounds that make the semi-hollow electric famous for its use in jazz, rock, blues, country, and nearly every other style you can think of. Quality Kluson tuners keep retuning time to a minimum, and nickel hardware enhances the great looks.


To show off its vintage vibe, the ES-339 is available in a choice of three finishes: Antique Cherry, Antique Vintage Sunburst, and Light Caramel Burst. The lacquer finish is applied with a light, even touch, allowing the guitar's wood to resonate naturally while providing a protective, mirror-like shine.The Antique Cherry and Antique Vintage Sunburst both come with aged bindings to further enhance the proud ES tradition.

Epiphone Masterbilt AJ-500M Advanced Jumbo Acoustic Guitar

Epiphone Masterbilt AJ-500M Advanced Jumbo Acoustic Guitar Vintage Sunburst Nickel


Epiphone Masterbilt AJ-500M Advanced Jumbo Acoustic Guitar
Expert luthiery to rival Epiphone's classic 1930s guitars is evident in the Masterbilt AJ-500M's precision top, back, and fretboard binding. A light...
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List Price: $748.00

Danelectro '59 Dano

Danelectro '59 Dano Electric Guitar Black


A seriously fun axe with swingin' 50s style.

The '59 Dano reissue electric guitar is based on the guitar model first released in 1959 and sold through the mid-'60s. Just because this guitar is inexpensive and a tad outr‚ doesn't mean it's not a serious instrument. The '59 Dano guitar features professional-level playability, intonation, and electronics. The '59 Dano is a guitar that will withstand the rigors of the road and continuous stage work in addition to inviting curious glances and knowing nods of approval.

The '59 Dano comes in finishes inspired by classic car colors of the day and have zero gloss, which helps convey the retro vibe. The glossless colors, swooshing pickguard, lipstick pickups, ridged knobs, and vertical headstock logo all help to create the immediate impression that this is an instrument from another time.

The body is a double-cutaway, and features the familiar plastic tape that runs around the edge of the guitar. Originally, this was to hide the seam in the two-piece body construction. Modern Dano's are not made using this clamshell method anymore, but the tape remains, as it is such a distinctive part of the look. The tape is affixed using a self-adhesive, and is aged with a shellac to give it a slightly brown-streaked or discolored look which adds to the vintage vibe. The pressed-particle pickguard is covered in the same material and cut precisely to fit.

The Alnico pickups are the lipstick variety, and have the same design as the ones that appeared in the '50s, when actual lipstick tubes (purchased from cosmetics makers) were used to house the electronics. One modern improvement is the bridge, which, on the reissue, is capable of being intonated.

Also an improvement over the original is the tuners, which are die cast and hold the tuning well. The nut is made of aluminum and contributes to the twanginess and uniqueness of tone that the Dano's were known for. In addition to sitting in a nut slot, the nut itself is screwed into the top edge of the fingerboard.

The playability is one of the most impressive aspects of this guitar— the action is low enough for velocity playing, yet was buzz-free on every fret. The neck is not speed-demon shallow, but its depth adds to the sustain, tone, and general feeling of substance.

The '59 Dano's pickups are bright and sparkly, but not shrill. The manufacturer reports that the 2007 reissue features a warmer wind on the pickups, which increases the output and provides a less high-endy tone. The jangly pickups and aluminum nut work well when playing open-position chords and single lines. Very versatile is the neck pickup—mellow and strong but not dull, perhaps due to the extra windings and its placement midway down the string length. The three-position switch and volume and tone knobs are rugged and stand up well to aggressive swiping and twisting.

Aside from being a definite conversation starter, the '59 Dano is a quality, low-priced instrument. It would be great as a second guitar, set up for a particularly twangy sound (owing to the pickup quality and the aluminum nut, which sounds particularly good when using open-string chords), or for slide. Or it would be good for a rhythm-playing front person, especially if your band plays retro or neo, jangle, pop, or surf music.

Danelectro '59 Dano Electric Guitar Features:

* Body: Double cutaway masonite/plywood
* Top Wood: Masonite
* Scale: 25"
* Neck Joint: Bolt-on
* Neck Wood: Maple with double acting truss rod
* Fretboard: Rosewood
* Neck Shape: C
* Frets: 21
* Nut: 1.65"
* Fretboard Radius: 14"
* Bridge: 6 saddle adjustable
* Pickup Bridge: Lipstick, single coil
* Pickup Neck: Lipstick, single coil
* Controls: Master volume, master tone
* Tuners: 3 on a side, sealed
* Harware: Nickel
* Pickup selector: 3-way toggle
* Finish: Matte

Ibanez S470DXQM

Ibanez S470DXQM Electric Guitar Red Viking


$649.99 -or- $20/mo. - Apply!
List Price: $866.65 Savings: $216.66(24%)


Ibanez brings a luxurious quilted maple top to one of the world's most dangerous guitars. To make the most of its appearance, a special S inlay is used, as well as 2 new finishes. Has all the standard S series components. Maple Wizard II neck, mahogany body, 22 jumbo frets, bound rosewood fretboard, special ZR tremolo, and the unbelievably versatile H/S/H Powersound pickup set.

Ibanez S470DXQM Electric Guitar Features:

* Maple Wizard II neck
* Mahogany body w/quilted maple top
* 22 jumbo frets
* Bound rosewood fingerboard
* Zero Point tremolo
* H/S/H Powersound pickup configuration
* Special S inlay

Musician's Friend End Of Summer Sale: More Markdowns, Up To 94%

40,000 Items in Stock at Musician's Friend


Musician's Friend End Of Summer Sale: More Markdowns, Up To 94%

Musician's Friend Stupid Deal of the Day

Floyd Rose Discovery Series DST-1 Electric Guitar

Today's Stupid Price
$99.99
Reg $149.99

Limited to stock on hand

Nobody would call the design of the Floyd Rose Discovery Series DST-1 Electric Guitar unintelligent—it delivers the 1-2 punch of the innovative SpeedLoader™ Tremolo System and a fast, comfortable maple neck with a rosewood fretboard. Changing strings gives you a perfectly intonated setup every time, while the SpeedLoader Tremolo has all the versatility of the original Floyd Rose® Tremolo with the rock-solid tuning stability and performance of the SpeedLoader System. It also features the TremStopper, which enables the player to block the tremolo system with a simple turn of a screw. 3 single-coil pickups are standard for clear, cutting tone. Blue finish. More info...

Ibanez AX220QM

Ibanez AX220QM Electric Guitar Transparent Lavender



$149.99 -or- $15/mo. - Apply!
List Price: $499.99 Savings: $350.00(70%)


Hot looks and a hard rockin' design!

Based on the Classic Artist, the AX220 was designed for contemporary rock. Its light, double-cutaway body is perfect for heavy rhythm work. Crafted of mahogany with a quilted maple veneer top, it projects a visual impressiveness beyond its affordable price. 2 humbuckers. 2 volumes, 2 tones, and 3-way switching. Full tune bridge.

Ibanez AX220QM Electric Guitar Features:

* Comfortable, sculpted body
* Mahogany body with a quilted maple veneer top
* Two humbucking pickups
* Two volumes, two tones, and three-way switching

Hands-On Product Review: Fishman Aura Imaging Pedals

Hands-On Product Review: Fishman Aura Imaging Pedals
Hot and fresh piezo delivery—right to your footstep
By Darius Van Rheuhl
Fishman Aura Imaging Pedals

Guitar players—we’re basically born insane—and the nice thing about insanity is that you never have to explain yourself. But that doesn’t stop us from long-winded sermons about stellar guitar tone and how best to achieve it. Historically, such timbre tantrums have been the province of electric guitarists due to the myriad tone-shaping options available to them. For acoustic guitar, tone was pretty much the result of the combination of tonewoods used and whether or not the luthier was having a good day. That was, of course, until acoustic guitar makers trespassed into electric lady land and began building in preamps, EQ, and pickups. So, you Eric Johnson battery-sniffing, tone-snob types, step aside—it’s our turn to go nuts over tone. Or, in the words of Jimi Hendrix, Move over Rover and let Fishman take over.

If you’ve been in and around the world of acoustic-electric guitars, doubtless you’ve heard the name Fishman, a maker of acoustic guitar electronics that’s associated with the top names in luthiery. Its mission is to bring forth the best possible sound from an acoustic-electric guitar. The Aura Imaging Pedals are the latest result of that effort.
A school of Fishman

The concept behind these pedals is to evoke the best possible sound from your instrument, as though an experienced engineer using the best mics and preamps available recorded it in a world-class studio.

To work their particular brand of magic, Aura Imaging Pedals implement Fishman’s Acoustic Imaging Technology, leveraging principles of convolution processing. In simple terms, convolution is like multiplication. You take two waveforms and multiply them, resulting in a sound that is the product of the two. Carrying that concept to the guitar, each Aura Imaging Pedal contains acoustic Images of a specific guitar chosen for its combination tone woods and body shape. Its acoustic image is recorded through a number of premier mics (including Neumann, DPA, and Schoeps) and a high-end preamp (the Millennia HV-3D-4, chosen for its transparency and ability to preserve acoustic nuance). The idea is to then process (or convolve) your guitar’s output with acoustic Images to add back the resonances that are lost by an undersaddle piezo pickup, along with the sonic character that certain mics impart.
Reading your Aura

These pedals are for acoustic-electric guitars, preferably with undersaddle piezo pickups, but also work well with magnetic soundhole pickups. Acoustic-electrics with soundboard pickups and soundhole condenser mics need not apply. Electric guitars? Well, it won’t give them an acoustic sound, but read on for some interesting observations where they’re concerned.

At present, Fishman has six pedals: Dreadnought, Jumbo, Orchestra, Concert, 12-String, and Nylon. To get the most out of these pedals, select the one that correlates to the body style of your guitar.

In the Fishman tank

Physically, the pedals have a modern, stylish, stainless steel look, and as far as build quality goes, wing one of these bad boys at something and you’ll do serious damage. The pedal, however, will emerge victorious. AC or battery powered, the pedal’s controls include volume, blend, a 16-position rotary Image selector, and a bypass/mute footswitch with an on/off indicator light. There’s also a phase reverse switch that helps to restore bass in low volume settings and reduce feedback when playing loud. There are no descriptions of the Images, which are just numbered on the unit itself. Fishman doesn’t want you to get caught up in selecting an Image based on preconceived notions of a given mic’s performance. The idea is to find the right Image for your guitar.
Testing the waters

I centered my tests on the Dreadnought and Nylon pedals. The guitars used were a Takamine EG522C Classical Acoustic-Electric, a Martin Custom Adirondack dreadnought (the result of a collaborative effort between Martin and Musician’s Friend), and an Alvarez Professional Series PD80SC Dreadnought Cutaway. I chose these instruments based on a price range of $500 to $1,500 to cover the widest variety of ownership. I was particularly curious to see if Fishman’s Dreadnought pedal would work on the cutaway since body shape plays an important role.

I based my conclusions on whether the sound of the pedals would compare favorably with a miked sound from quality mics and preamps. After all, if you can get similar results from a $199 pedal as you can from $4,000 worth of mics and preamps, sans hours of setup, you’re golden. My setup employed a Royer 121 ribbon mic, BPM CR-10 condenser (handmade German) mic, and Summit preamps. Each guitar was recorded in four passes, one with the Royer, one with the BPM, direct through the Aura, and one with the mics set up in mid-side stereo.

Starting with the dreadnoughts, my first discovery was that by merely running through the Aura pedal with the blend control turned all the way down, the sound of the guitar was immediately improved. Better still, the Dreadnought pedal worked equally well on the Alvarez cutaway as it did with the traditional Martin dreadnought. On every A/B test between mics and Images, the Aura pedal easily held its own. In fact, the Image that I felt worked best on both guitars was nearly indistinguishable from the sound produced by my condenser mic.

In the mid-side stereo recording, the figure 8 polar pattern of the Royer supplied ambience and stereo imaging while the BPM provided the direct mono signal. Substituting the Aura track for the condenser sounded just as good, plus it gave me the tonal options of a world-class mic locker by re-amping a dry track through the Aura pedal.

Moving on to the Aura Nylon pedal, I found that it yielded the most dramatic results. Almost every Image was eminently useful. I believe that this is due to the diminished resonance of a nylon-string guitar, which allows the Acoustic Imaging to work more effectively (it’s a phase thing). The overall effect of the pedal is just marvelous. You get depth and presence that are not usually forthcoming on a nylon-string guitar, along with a number of timbral options to tailor your sound.

Fishman Aura Imaging Pedals
Fishman Aura Imaging Pedals: Nylon

Finally, I tried mixing pedals and body styles. The results were as Fishman predicted—interesting, but not as satisfying as the direct match. Just for fun, I tried the Orchestra pedal with my PRS CE 24 electric, which I always felt was a little thin sounding. Bonus! I actually got a really sweet, extra-sparkly sound in the out-of-phase pickup position, and it added a nice thickness to the neck position pickup. It was exactly the sound I felt I was missing. I wouldn’t go so far as to say that you should get an Aura pedal for your electric, but if you get one for your specific acoustic and have an electric lying around, you just might be pleasantly surprised.
Going Fishman

These pedals breath the rarified air of products that make something sound better just by passing a signal through them. If you have a nylon-string guitar with a piezo pickup, you shouldn’t even consider plugging it in without a Fishman Aura Nylon String Pedal. The same applies to those who perform live, regardless of which body style guitar you have. Once you hear it onstage, you won’t want to be without it. Overall, I’d say that anyone who has been disappointed with the sound of their piezo pickup, or has a good one but wants great, the Fishman Aura Imaging Pedals are the best and only way to bring your piezo sound up to world-class standards without spending a king’s ransom.

Fender American Deluxe Series Telecaster

Fender American Deluxe Series Telecaster Electric Guitar Montego Black Rosewood Fretboard



$1,249.99
MSRP: $1785.70 Save: $535.71

A righteous version of the classic original! The Telecaster is an undeniable force in all styles of guitar-based American music and the Fender American Deluxe Telecaster Electric Guitar is the top of the Tele chain! It offers stunningly accurate noiseless vintage sounds through 2 SCN (Samarium Cobalt Noiseless) pickups, as well as new variations through the versatile S-1 switching system. Its highly detailed fret and nut work make it incredibly easy to play. Other features include a bound-top alder body with a comfortably contoured back, abalone dot inlays, and aged plastic parts. Includes Fender hardshell case.

Samarium Cobalt Noiseless pickups

It's no secret that pickup designers have been striving to develop the ultimate noise-free single-coil replacement pickup. In pursuit of as little 60-cycle hum and extraneous noise as possible and the classic bell-like tones and fidelity of the original Fender designs, Fender has poured their energy into discovering a new world-class pickup for the ages. With open minds and a willingness to seemingly question everything, Fender partnered with legendary pickup designer Bill Lawrence. The pickup that was birthed from this extraordinary partnership is the Samarium Cobalt Noiseless pickup. It has no hum, no microphonics, close to zero magnetic interruption of the string path, and the widest sonic parameters possible from Fender classic single coils to tones not yet imagined. Truly a revolutionary design in guitar pickups.

Epiphone PR-150 Acoustic Guitar

Epiphone PR-150 Acoustic Guitar Vintage Sunburst


$99.99
MSRP: $229.00 Save: $129.01


A sweet beginner's guitar. For such an easy-to-afford guitar, the PR-150 is a amazing—a perfect instrument to get started on. It is a dreadnought and features a spruce top, mahogany back and sides, a mahogany with rosewood fretboard. It sounds great and is nice looking.

Squier® Vintage Modified '70s Jazz Bas

Squier Vintage Modified '70s Jazz Bass Natural


$279.99
MSRP: $465.99 Save: $186.00


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.

Musician's Friend End of Summer Sale

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Ibanez Sale

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Ibanez AX220QM Electric Guitar
Based on the Classic Artist, the AX220 was designed for contemporary rock. Its light, double-cutaway body is perfect for heavy rhythm work. Crafted...
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List Price: $499.99

Line 6 Variax Bass 700

Line 6 Variax Bass 700



Line 6 Variax Bass 700
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Martin SPJC-16RE Acoustic-Electric Guitar

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Martin SPJC-16RE Acoustic-Electric Guitar
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D'Addario EXL110 Nickel Regular Light Electric Guitar Strings
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Line 6 Variax 300 Modeling Guitar

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Rogue Dreadnought Cutaway Acoustic-Electric Guitar

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OLP Tin Top Electric Guitar
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Ovation GC057 Celebrity Super Shallow Bowl Acoustic-Electric Guitar

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Ovation GC057 Celebrity Super Shallow Bowl Acoustic-Electric Guitar
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Product Spotlight: Marshall JVM Guitar Amplifiers

Product Spotlight: Marshall JVM Guitar Amplifiers
A new top-of-the-line Marshall loaded with kick-assitude
By Jeff Kramer

Marshall JVM amplifiers

The real “heart of rock-and-roll” has to be the Marshall all-tube super-lead amp. From the Hendrix era down to today’s current crop of guitar-wielding Wylde men, Marshall amps have provided the power and tone needed to rage onstage.

The JCM, JTM, TSL, DSL, and Vintage Modern are the Marshalls that have ruled the rock stage and established this long and proud Marshall tradition. With so many great amps setting the standard, coming up with a new flagship amp had to be a challenge. Marshall has risen to the task—admirably. The new JVM410H 100-watt head fills big boots. It is an extraordinary amp—everything you love about an all-valve, high-gain Marshall and more. It has more gain than any Marshall ever, more channels, more switching, more versatility. It is quieter, stronger, and amazingly easy to drive. In short, it lives up to its promise on all counts.
Classic and classy

The look is standard Marshall trad: black case, gold panel, and big white Marshall logo to provide rock cred. You can’t mistake it for some poser amp. The most obvious difference between the JVM and other Marshall amps is the front panel. It’s filled with knobs—a control freak’s delight. There are 28 to be precise plus eight switches.

So many controls might make you assume that it’s complicated, but it’s not. It has four independent channels, and most of its knobs are Marshall’s standard channel set (gain, bass, mid, treble, and volume) repeated four times. There are also individual channel reverb level controls. In the master section, there are two gains that you can switch between. The last two knobs are global resonance (it’s the first Marshall amp to have a resonance knob rather than just a switch) and presence. Once you understand the layout, it seems simple and straightforward in spite of the number of knobs.

In addition to the four sets of panel controls, each channel has a three-way mode switch that changes the preamp gain structure, adding gain stages as you move from green to orange to red. This, in effect, makes the JVM410H a 12-channel amp. It’s the number of channels you find in modeling amps, but these aren’t modeled versions of anything. All 12 are pure, real Marshall tube. You have the basic clean, crunch, and overdrives that have shaped rock music over decades. And the modes add three variations of each. With all of this to work with, the JVM can match the tone of any Marshall of yore and come up with new tones that take high gain to new highs.


I tried out the JVM410H atop a 4x12 Celestion Vintage 30 cab and started pumping out riffs in the clean channel. One thing that impressed me immediately was how quiet the JVM’s clean channel is. It’s almost as if it’s off until you make sound on your guitar. And when it is making sound, the clean channel is incredible—glassy and pure. Switching from green to orange to red modes bumps up the gain in increments, so that in red you have a sweet bluesy tone that is great for leads and responds nicely to the tone knobs, allowing you to focus the distortion at a desired frequency.

The crunch channel has the standard preamp topology of gain first, tone second; so in green mode it’s like the legendary Plexi but with a bit more gain. Switching to orange mode makes it tonally similar to a JCM800. Switching to red ups the gain more, so that the amp performs like an 800 on steroids.

With the overdrive channels, the gain starts high and goes insane. OD1 and OD2 are similar, both clearly in the metal and hard rock zone. The difference is even more gain in OD2 and a lower frequency center, dropped from Marshall’s standard (around 650Hz to around 400Hz). The effect is more power and more punch for leads that slice and rhythms that grind and churn. Cool.
Bitchin’ switchin’

The JVM comes with a six-button footswitch that is itself a marvel. First, it’s programmable. In switch assign mode you determine which button switches what. A lot of things on the JVM are switchable: Master Volume 1, Master Volume 2, channel and mode, reverb on/off. Even one of the amp’s two FX loops, the series/parallel circuit, can be switched. In its preset memory mode, the footswitch accesses JVM’s memory. In this mode, you can lock in a full setup, assign it to a footswitch, and save it. When you tap the footswitch it recalls all the settings—channel, mode, and effects. You can even use a channel multiple times with different settings.

The footswitch has another really cool feature. It connects to the amp with a regular guitar cable. No multiwire, hex-headed special cable to hang you up bad if it goes south during a gig or you forget to pack it. With this footswitch, you just plug in a spare guitar cable. If you need a longer cable on a big stage, you can sub a longer guitar cable.
Other pro features

In addition to its six-button footswitch, the JVM can be controlled from a MIDI footcontroller to make it even more facile onstage. If you’re running a MIDI effects unit, for example, you can set up MIDI commands that change the channel and effects unit in tandem, thus reducing the amount of tap dancing required to get you there.

Vintage purists will bemoan the use of digital rather than spring reverb, but there are bad digital reverbs and good ones, and this is a good one—very natural, smooth, and easy to precisely adjust. And of course, it won’t freak out when the floor starts bouncing. Separate level controls for each channel and on/off footswitching make it easy to use onstage, and it has natural decay when you switch to another channel or turn the reverb off.

JVMs provide an emulated line out for recording or feeding a board. Both the JVM410H head and the JVM410C 2x12" 100-watt combo have speaker outs for all relevant impedances, and the JVM410C combo is equipped with two different Celestian Marshall/Celestion 12" models (one Vintage, one Heritage) to make the sound richer.

With its pro features, tour-tough build, extensive switching, four channels with modes that give it vast tonal range, and insanely high gain, the JVM410 is a worthy flagship to carry the Marshall standard. It is classic Marshall with modern refinements. The Marshall roar is alive and kickin’, and rockin’ louder than ever.
Marshall JVM410C Tube Combo
Marshall JVM410C Tube Combo
Features & Specs

* 100-watt all-valve
* Valve complement: 5 x ECC83 (12AX7s) in preamp, 4 x EL34s in power amp
* 4 independent, footswitchable channels – Clean, Crunch, OD1, and OD2
* Each channel boasts 3 footswitchable modes – Green, Orange, and Red
* Studio-quality, footswitchable digital reverb with level controls for all 4 channels
* 2 footswitchable Master Volumes
* Internal amp memory remembers most recent switch selection for all 12 modes
* 2 FX loops: series/parallel and parallel
* Series/parallel FX loop is footswitchable
* Emulated line out
* 6-way, 7-LED footswitch that’s programmable
* Footswitch connects with standard guitar cable
* All switching can be done via MIDI
* Made in England
* JVM4410C combo features 2 Celestion 12" speakers

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Yamaha AES720 Single Cutaway

Yamaha AES720 Single Cutaway Electric Guitar Black/Pacific Blue Metallic



$399.99 - $499.99 -or- $15/mo. - Apply!
List Price: $819.99 Savings: $420.00(51%)

Boss ME-20 Multi Effect Guitar Pedal

Boss ME-20 Multi Effect Guitar Pedal






Boss ME-20 Multi Effect Guitar Pedal

Save 46% On A DigiTech RP100A Guitar Multi Effects Pedal - Only $69.99

DigiTech RP100A Artist Modeling Guitar Processor


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OLP Tin Top Electric Guitar

OLP Tin Top Electric Guitar


The OLP MS Tin Top features a real tin top that's distressed for sick vintage industrial appearance.

An aviation-inspired gauge lights up when you pull up the tone knob on your OLP Tin Top Electric Guitar and the fret markers are Phillips head screws. Bare black humbuckers crank out punishing crunch and searing sustain. It's a working man's version of the famous McSwain Machine with a distressed satin black back and a metal-faced McSwain style headstock. OLP assembles the Tin Top Electric Guitar with a basswood body, rosewood fretboard, North American maple bolt-on neck, 24-3/4" scale.

OLP Tin Top Electric Guitar Features:

* Basswood body
* North American maple bolt-on neck
* Rosewood fretboard
* 24-3/4" scale
* Real tin top and head cover
* Bare-pole OLP humbuckers
* Lighted gauge
* Distressed satin black back
* 2 OLP PAF-style exposed-pole pickups

Gibson Les Paul Studio Electric Guitar with BFG Electronics

Gibson Les Paul Studio Electric Guitar with BFG Electronics Ebony



Smooth Studio styling mated with raw BFG sound.

The Les Paul Studio Electric Guitar with BFG Electronics combines features of two of the most innovative Les Paul models ever created. The Les Paul Studio and the Les Paul BFG. The Les Paul Studio enhances the solid, proven design of the world's most famous guitar with a sleek, no-frills look. The Studio is the favorite of guitarists who demand traditional Les Paul performance with a modern attitude. This Limited-edition also features the unique BFG electonics. Two volumes and one tone knob control the sonic spectrum put out by a 498T humbucker in the bridge and a screaming, singlecoil P-90 in the neck.

The Gibson 498T humbucker has a slightly hotter Alnico V magnet and a specially wound coil that give it higher output and an emphasis on mid-ranges and highs, making it the perfect rock pickup. The lean and mean P-90 offers a stellar combination of high output and biting treble response. After nearly 50 years, the P-90 is still a favorite among musicians who want the single coil sound. With BFG wiring the traditional toggle has been rewired as a kill switch, and a mini-toggle at the volume knobs controls pickup selection. The Les Paul Studio with BFG electronics has eye-catching style, an incredible range of tone, and unbeatable playability.

Gibson Les Paul Studio Electric Guitar with BFG Electronics Features:

* Top: carved maple
* Back: mahogany
* Neck: set mahogany
* Neck profile: Slimmed down '50s round
* Neck Joint Location: 16th fret
* Fingerboard: rosewood
* Scale length: 24-3/4"
* No. of frets: 22
* Nut Width: 1.69"
* Radius: 12"
* Inlays: Pearloid trapezoid
* Hardware: Chrome
* Tailpiece: Stopbar
* Bridge: Tune-O-Matic
* Knobs: black speed
* Tuners: Kluson
* Neck Pickup: Gibson P-90
* Bridge Pickup: 498T Gibson humbucker
* Controls: volume/volume/tone
* Switch: Standard kill, mini-switch 3-way pickup select
* Finish: Lacquer
* Case: Hardshell

Hands-On Review: Gibson SG Standard

Hands-On Review: Gibson SG Standard
Over 45 years of rock stardom and still on top
By Chris Graeden

Over 45 years of rock stardom and still on top

The Gibson SG is a Graeden family tradition. I play an SG and so does my father. My dad, who is in his 60s and still playing gigs regularly, actually has two SGs: a Les Paul ’61 model that he bought in 1961, and now—except for special occasions—keeps locked away—mainly from me—and a newer SG that he uses for gigs. He also bought me an SG so that I would lay off trying to get him to pass on the ’61 to his son. He got tired of telling me, “You’ll have to pry it from my cold, dead hands,” or maybe he tired of me responding that he could count on my doing exactly that. Of course, I may have to rethink that approach if a child of mine becomes a guitarist.
From Les Paul reject to icon

The SG didn’t get off to the smoothest of starts in 1961. It was first presented to the public as a new Les Paul design. With the perspective of history we can see there were early hints at the changes to come. As early as 1958, the Les Paul Junior and TV each sported a rounded double-cutaway. In 1959, the Les Paul Special was given a rounded double-cutaway and was renamed the SG Special. By 1961, the Les Paul Standard, Custom, and Junior had each been given the SG-style double-cutaway.

Even though Les Paul himself could be seen holding the SG in Gibson catalogs and on album covers, Les didn’t take to it—preferring his original design. There are various accounts of his aversion to the SG: The twin devil-point cutaways seemed too dangerous; he didn’t like the mahogany body without a maple top; the body was too thin; or the neck was too skinny. According to some guitar historians, it wasn’t concern over design, the main reason was monetary—Les didn’t want his wife to get money from the deal in a divorce settlement, which would have included money he received from Gibson for the Les Paul endorsement. In 1962, he let his contract with Gibson expire which meant there would be no new guitars with the Les Paul name. Whatever the reason, by 1963, Gibson renamed these SG-styled Les Pauls as simply SG (standing for solidbody guitar). As such, the SG caught fire among rock players, becoming one of the most widely used rock guitars over the four decades since.

It caught on with rockers for a number of reasons. Its body shape was distinct from anything available at the time and it appealed to the sideburns-and-ducktail set. It was equipped with Gibson humbuckers so it could kick serious butt. It offered a thicker tone than the Fender guitars of the day and could get loud without the noise. It was way lighter than the Les Paul, so you could move around more easily onstage. Its weight was such that you could play a four-or-five-hour gig without your shoulder going numb, yet it had enough weight that it stayed in position even when you were moving all over the place.

Probably the most important factor leading to the SG’s widespread use for rock music was its price. For many rockers in the ’60s, a Les Paul wasn’t even a serious choice: Gibson didn’t make any Les Pauls between 1963 and 1968. The SG was easier to find, and though it wasn’t an inexpensive guitar, it was much easier on the wallet than a Les Paul. It was a quality Gibson guitar that rockers could afford.
Gibson SG Standard Electric Guitar
Gibson SG Standard Electric Guitar
Hitting the big time

What gives a guitar icon status is the people who play it. The SG has been in the hands of many top rockers: Eric Clapton and his famous Fool-painted SG Standard used to record Disraeli Gears and “Crossroads” with Cream, Pete Townshend (his SG Special from the Live at Leeds-era Who had P-90 pickups), Tony Iommi, Angus Young, Carlos Santana (P-90s on the Woodstock SG Special), Frank Zappa, John Cipollina of Quicksilver Messenger Service (his customized SG had a Bigsby tailpiece), Alex Lifeson of Rush, Gary Rossington of Lynyrd Skynyrd, Duane Allman—the list goes on and on. Among more contemporary rockers the list of SG players includes Foo Fighter Dave Grohl, Billie Joe Armstrong of Green Day, James Iha of Smashing Pumpkins, Daron Malakian of System of a Down, and many more. With so many top stars wielding SGs over so many years, it's no wonder that the guitar has gained such allure. Still, no axe becomes such a favorite of so many big-name rockers without having the right stuff. The SG has become standard rock issue by virtue of its tone, feel, and look.

With its mahogany body, set neck, and pair of Gibson humbuckers (a 490R and 498T), it has the thick, solid tone with a strong bottom end that lets you lay down a heavy crunch that drives with power. Switch to the neck pickup and it becomes capable of sweet lyrical leads. Kick it to the higher-output bridge pickup and it puts an edge on your tone that lets you rip out aggressive riffs with serious sting.
Feel appeal

As far as ergonomics go, the SG is hard to beat. I’ve never liked guitars that don’t have a contoured upper edge. The beveled edge of the SG body is especially easy on the arm, and because it continues all the way around, it allows your arm to move freely along the upper edge. It also makes the body much lighter than it would be if it weren’t sculpted. The fingerboard and neck feel is also great, at least for my tastes. The neck shape on my ’80s SG Standard is a bit thicker than on the original models which had an especially thin, flat profile. The binding on the side of the fingerboard gives it a smooth feel, and the neck angle combined with the thin body makes the SG hang at a natural and comfortable position for my left arm.

When the SG first came out, it was a much more distinctive design compared to other guitars in the early ’60s than it seems today after being so frequently copied. Since its introduction in the 1960s, the SG has lost some of its distinction thanks to the many knock-offs of the design. I suppose the maxim, imitation is the sincerest form of flattery holds true today. The devil-horn cutaways don’t appeal to all guitarists, but I like them fine and they are functional, giving free access to the top frets—especially the top cutaway, which lets you bring your thumb along as well. The SG’s simple appointments, neck binding, trapezoid inlays, and chrome hardware give it just enough flash without seeming overdone. It’s an unpretentious look and, despite the urge to make next year’s model different from last year’s, the SG has remained basically unchanged over time. In a world where styles come and go with each season, it’s nice to have some things that remain enduring and constant. The SG is one of those things and, as long as it stays like it is, it will always be a great rock-and-roll guitar.
Features & Specs

Gibson SG Standard

* Double-cutaway beveled mahogany body
* Set mahogany neck with rounded profile
* Bound rosewood fingerboard with trapezoid inlays
* Tune-o-matic bridge with stopbar tailpiece
* Chrome hardware
* 490R humbucker in the neck position
* 498T humbucker in the bridge position
* 2 volume knobs
* 2 tone knobs
* 3-way switch
* 24-3/4" scale

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54% Off Applause AE127 Acoustic-Electric Guitar

Applause AE127 Cutaway Acoustic-Electric Guitar Natural

B.C. Rich Warlock In Red - Only $149.99

B.C. Rich Bronze Series Warlock Electric Guitar Red



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Wicked looks, wicked sound, sweet price!

The B.C. Rich Bronze Series Warlock Electric Guitar sounds great and looks even better. This affordable Warlock features an agathis body, dual humbuckers, all chrome hardware, maple neck, rosewood fingerboard, and the popular Warlock body design that takes center stage as soon as you strap it on.

B.C. Rich Bronze Series Warlock Electric Guitar Features:

* Wicked Warlock design
* Agathis body
* Maple neck
* Rosewood fretboard
* Dual humbucking pickups
* Chrome hardware

Behringer V-AMP 2 Amp Modeler Refurb

Free Shipping on Most Orders Over $99!


$79.99 -or- $15/mo. - Apply!
List Price: $149.99 Savings: $70.00(46%)


The next step in virtual amplification.

By adding a host of new features and capabilities to the Behringer V-AMP 2 Amp Modeler, Behringer has upgraded their already-legendary modeler. You now get 32 amp models as well as the original 15 speaker simulations which can be selected independently of the amp models. A 24-bit, studio-quality stereo effects unit offers an array of useful algorithms including chorus, tremolo, compression, noise gate, delay, and much more. A separate, manually or MIDI-controllable wah and 9 stereo reverbs are available in combination with any other effect, amp, or speaker setting. 2 effects parameters are directly accessible. This cool unit retains the original V-Amp's chromatic tuner and a tap tempo function for realtime adjustment of effect speed. You also get an adjustable stereo aux input, stereo line output with speaker simulation, 3-band EQ, master volume, and adjustable headphone output. The MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters. The 125 onboard presets are organized into 25 banks and include 50 presets by renowned guitarists. On top of all that, the V-Amp 2 offers 5 practical configuration modes plus a presence control that simulates negative-feedback tube amps. The new preamp bypass lets you use it as a stereo effects unit. Dramatically improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio. The V-Amp 2 is simple to operate with dedicated controls for all essential settings. Behringer offers additional presets and downloadable V-Amp editor software on its website. Behringer includes dual footswitch, AC adapter, and carrying bag with the V-Amp 2.

Behringer V-AMP 2 Amp Modeler Refurb Features:

* 32 amp models
* 15 speaker simulations can be selected independently of amp models
* 24-bit, studio-quality stereo effects include chorus, tremolo, compression, noise gate, delay, and much more
* Separate, manually or MIDI-controllable wah and 9 stereo reverbs
* 2 effects parameters are directly accessible
* Chromatic tuner
* Tap tempo function for realtime adjustment of effect speed
* Adjustable stereo aux input
* Stereo line output with speaker simulation
* 3-band EQ
* Master volume
* Adjustable headphone output
* MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters
* 125 onboard presets organized into 25 banks
* 50 presets by renowned guitarists
* 5 practical configuration modes
* Presence control simulates negative feedback tube amps
* Preamp bypass lets you use it as a stereo effects unit
* Improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio
* Dedicated controls for all essential settings
* Dual footswitch for preset selection and tuner control
* AC adapter
* Carrying bag

Dunlop JH-1B Jimi Hendrix Signature Wah Pedal

Dunlop JH-1B Jimi Hendrix Signature Wah Pedal


$129.99
MSRP: $199.98 Save: $69.99

The Jimi Hendrix Signature Wah pedal reproduces the famous tones of Hendrix wah solos and rhythms from the late 60s with amazing accuracy. The pedal has a classic vintage look to match it's sound: a chrome top and black crinkle aluminum body. Dunlop does it again with great sound and solid construction.

Fender Geddy Lee Jazz Bass

Fender Geddy Lee Jazz Bass


$799.99
MSRP: $1142.84 Save: $342.85

Fender
Rush's Geddy Lee dishes out the bottom-end with this bass. A perfect replica of Geddy's J, it has an original-spec alder body fitted with 2 U.S. Vintage Jazz Bass pickups, traditional volume-volume-tone knobs, and a Badass II bridge. The one-piece maple neck with bound-and-blocked maple fretboard is a very comfortable custom shape, slimmed down to Geddy's specifications. Black finish. Includes deluxe gig bag.

Fender Geddy Lee Jazz Bass Features:

* Geddy Lee signature Jazz
* Vintage-design alder body
* Custom-shaped maple neck
* U.S. Vintage Jazz Bass pickups
* Badass II bridge
* '70s style block inlays and binding

Fender Geddy Lee Jazz Bass Includes:

* Fender deluxe gig bag

Gretsch Guitars G5120

Gretsch Guitars G5120 Electromatic Hollowbody Electric Guitar Black



$595.00 -or- $18/mo. - Apply!
List Price: $850.00 Savings: $255.00(30%)


A professional hollowbody electric that won't break the bank.

Get ready for some serious twangin' up ahead, because this special edition G5120 Electromatic Hollowbody Electric Guitar from Gretsch has the vibe and tone that will have you dancing the twist until 2 a.m. This stylish, professional guitar features newly designed dual coil humbucking pickups, adjustable bridge, chrome-plated die-cast tuners, and wicked cool colors!

Gretsch Guitars G5120 Electromatic Hollowbody Electric Guitar Features:

* 16" x 2.75" laminated maple hollowbody
* Maple neck (24.6" scale)
* Rosewood fingerboard
* 21 medium jumbo frets
* Bone nut (1-11/16" wide)
* Vintage style machine heads
* 2 Gretsch dual-coil pickups
* #1 tone pot control setup
* G-Arrow Knobs
* Adjusto-Matic bridge on rosewood base
* Bigsby© B60 vibrato tailpiece
* Gretsch knurled strap knobs
* Chrome hardware
* Urethane finish

Musician's Friend New Product of the Day

Guitar Center 43 Anniversary

Line 6 Pocket POD

Line 6 Pocket POD
POD has a little brother who loves the road!
Devon Bardizbanian

Line 6 Pocket POD

In 1998, Line 6 hijacked a myriad of classic sounds from popular amplifiers and stomp boxes, re-created them through the use of digital technology, and put them right on your studio’s desktop. The result was tonally pleasing, as well as visually appealing, yielding a cute, smallish, red kidney bean-shaped device called the POD. In no time PODs began turning up in studios all over America. Players and engineers enjoyed having hours of setup time eliminated. POD not only revolutionized the way people recorded in a professional setting, it also helped fuel the home studio boom.

Over the years, Line 6 has continued to improve on the versatility and features of POD, packing more tones, more amp models, more cabs, more effects, and more options into its 10"-wide casing. To satisfy guitarists’ different needs and various niches, the company expanded the line by producing new POD variations—floor models, rack models, and bass models—that gained appeal with a wider audience. So, what’s next? How do you expand on a big idea that comes in a small package? Make it even smaller and more portable!
Let’s get small

For years, guitar players developed their tones through an amp or set of amps, and a series of pedals placed on the floor in various configurations and settings. That’s fine for those guitarists who have spent years building their rig, especially those who have a roadie to help with moving, setting up, and tearing down. But for the rest of us, what could be easier and more alluring than a pocket-sized, all-encompassing tone factory?

The Pocket POD packs in every tone and effect that you found in Line 6’s second-generation POD 2.0 design. Only now, it’s all housed in a tuner-sized case that fits, well, right in your pocket. “Take your tones anywhere you go” is the company’s slogan, and it’s spot-on.

Powered by AAA batteries, this little powerhouse is the definition of portable. It’s great for recording, and onstage, it makes an incredibly versatile sound board. Like its larger siblings, the Pocket POD will be a godsend for guitarists in cover and wedding bands who need to replicate lots of different sounds of recordings.

Deep diving



If you’re not familiar with POD by now, you should know it already has a reputation for delivering an extensive library of great-sounding tones. This particular edition comes packed with over 300 pre-programmed, impressive, and very diverse sounds. Many of the newer presets have been professionally dialed-in by groups like Hoobastank, Sparta, P.O.D.—too many to list here. There are 124 programmable presets available to store your custom tones. Even though the Pocket POD is smaller than any previous POD (5" wide, just over 3" tall, and less than 3" deep), the knobs are ergonomic and the controls are logically laid out and clearly labeled.

The interface for editing sounds is easy to use. If you’re used to sending text messages from your cell phone, using the Pocket POD will be a piece of cake. One of the best features is the ability to connect to a computer directly through a USB output. It helps make tweaking or “deep diving,” as Line 6ers refer to it, quick and simple. The software is included. Just install and dive in.

If you’re looking for a specific tone or sound from a specific song or maybe you want an even larger variety of tones, there’s a seemingly endless amount of presets available—all for free—online through Line 6’s CustomTone.com. It’s a vast collection and just keeps growing. I spent a good three hours downloading various tones into the Pocket POD, testing ’em out, then trying new ones. The downloaded sounds are so faithful that a buddy of mine who walked in thought it was an original recording that was playing instead of me playing through the Pocket POD.
Sonic rainbow

The sound engineers who develop these things must constantly challenge themselves to put as much into as little space as they can. Think of the Pocket POD as the MP3 player of guitar tones.

The 32 amp models replace a room full of amps with the famous names you’d expect, giving you a wide variety of classic and modern guitar amp sounds that are right there for you at the turn of a knob. With Pocket POD, though, it’s not just about having a lot of modeled amps; it’s about the fact that they really sound great, capturing the quality and feel that makes each amp special.

The 17 effects make up a real sonic rainbow as well, and include Delay, Chorus, Reverb, Flanger, and Tremolo, with each one sounding as good as any stomp box I’ve ever used. The 16 speaker cabinet models re-create a who’s who of classic cabs from the ’50s and ’60s. The Pocket POD also includes a built-in tuner and a noise gate that keeps the effects from getting too noisy so the silence between notes is really silence.

Ultimately, this thing is a real keeper. Pocket POD is great for beginning and aspiring musicians who want to experiment with different tones. It’s also ideal for the touring professional who wants to sit in the back of a tour bus and practice his chops. The Pocket POD is versatile, flexible, and, above all, portable. The quality of tone and range of sounds are worth twice the price; and the affordable price tag makes it a no-brainer.
Features & Specs

Line 6 Pocket POD

* Pocket size: 5"W x 3-1/2"H x 2-1/2"D
* Lightweight: 6 oz.
* Legendary POD 2.0 tone
* 300+ presets, 124 programmable for your personal settings
* Endless amounts of available presets online
* 32 guitar amp models
* 17 effects including Delay, Chorus, Reverb and more
* 16 cab models and A.I.R. Mic/Room Emulation
* Noise gate
* Built-in tuner
* USB for Mac & Windows
* Tone Edit software and online Tone Library
* 1/8" headphone/line output
* 1/4" amp/line I/O
* 1/8" CD/MP3 input
* 4 AAA batteries included for 4 to 6 hours of use
* Optional 9V DC supply
* Belt/strap clip

Hands-On Review: Epiphone Thunderbird IV & EB-3 Basses

Hands-On Review: Epiphone Thunderbird IV & EB-3 Basses
Combining classic design, impeccable build, and accessible prices
By Jerry McCaulley

Korg Compact Tuners

The Thunderbird IV and EB-3 Basses are about as deserving of being labeled “classics” as any bass guitars in existence. Both were introduced nearly 50 years ago by Gibson. Both are distinctive in design, and both have withstood the test of time. Generation after generation of bassists have discovered them to be wonderful instruments.

Gibson, of course, created the original designs and still makes the Thunderbird and a version of the SG-based EB to this day. It is the Epiphone versions of these two designs that are the focus of this Hands-On Review. Since I recently had the opportunity to review the Gibson models, I was especially interested to see how the Epiphone versions compared them. All-in-all, I was pleased to find that the Epiphone basses measure up very well to their Gibson counterparts, especially considering their much more accessible prices.

It is little wonder that Epiphone basses exhibit a consistently high level of quality. They have the combined guitar-building experience and knowledge of both Gibson and Epiphone to support them. Both companies have proud histories reaching back well over 100 years and have been working as a team now for 50 years. That adds up to a degree of guitar-making know-how unmatched by any other company.

In more recent years and with full Gibson support, Epiphone has been moving to reclaim the guitar-craft supremacy of its glory years. Its Masterbilt Acoustic line, Elitist Electric guitars, a number o