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Click on the guitar brand you wish to view:
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Rickenbacker
Guitars
(NOTE: Some images will
enlarge when clicked again)
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Early and Prototypes
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1937 Ken Roberts model; dark Brown woodgrain finish; single “horseshoe”
type pickup with Kauffman vibrola and metal
“Rickenbacher” (with an “h”) badge on
pearloid headstock veneer. All original with OHSC.
1957 Rickenbacker 365 Capri Prototype in
Autumnglo.
This guitar was one of the first of a handful of prototype
full-scale Capri models made by Rickenbacker in 1957. It
has an extremely attractive flame-maple butcher-block style
top with single gold pickguard, Combo-style pickup selector
switch and tone selector switch, volume and tone knobs and a
Kauffman vibrola. Unlike the full scale Capris that followed,
it is distinguished by a Combo-style wiring and one-piece neck
with no middle “walnut” stripe, an extra-long
“crescent” soundhole, first introduced on this
guitar, and a wooden cap on the neck heel that extends over
the body binding. The long soundhole was shortened later
in 1958. This guitar is identified as a 1957 model and
depicted in a color photo on page 104 of “The Complete History of Rickenbacker Guitars” (1987) by Richard R. Smith. This guitar is in
near-mint original condition with its OHSC.
1957 Rickenbacker 365 Capri Prototype in Autumn Gold. Another guitar from the early run of a few prototype
full-scale Capri models made by Rickenbacker in 1957. It has
all the features of its brother just above; however, it
appears that the original finish was removed and the body and
neck has been professionally refinished in a Autumn Gold (a
transitional finish color between Autumnglo and Fireglo). Note
the flame-maple butcher-block style 11-piece top. This
guitar has a single gold pickguard, Combo-style pickup
selector and tone selector switches, volume and tone knobs and
a Kauffman vibrola. This early example also has a one-piece
neck with no middle “walnut” stripe, an extra-long
“crescent” soundhole and a wooden cap on the neck
heel that extends over the body binding. Apart from the
pro refinish, this guitar is in original condition with period
correct components and an OHSC.
1958 Rickenbacker 325/850 “Polynesian”
One-off. This one-of-a-kind guitar was developed in late 1957
and likely designed by Rickenbacker designer Roger Rossmeisl,
combining features of the 325 Capri and the Combo 850, and
with no serial number on the elongated jackplate. This
“transitional” Rickenbacker guitar has features
found on the Combo 850 model, such as the “German
carve” indent on the front of the body. However it
also has a short-scale set-neck, semi-hollow body, thin ply
back and a 3-pickup “toaster-top” configuration in
keeping with the 325 Capri series that immediately followed
it. The Polynesian could be said to be the first model
325 made by Rickenbacker. It was so named because it was
initially played by a member of a group called the
“Polynesians.” See page 147 of
“The Complete History of Rickenbacker
Guitars”
(1987) by Richard R. Smith for more information. This guitar
is in near-mint original condition with its original HSC.
1958 Rickenbacker Capri 325 Autumn Gold – Short Neck
Long Body. This is one of three “Longbody”
Capri prototypes produced by Rickenbacker during the
R&D stages of the Capri concept in late 1957. Guitar
features a short-scale neck on an elongated semi-hollow body,
which is made of several pieces of figured wood laminated
together “butcher-block” style. Its unusual
length required a short “extension” piece to
complete the bass horn. The production 325 guitars that
followed had a body that was shorter by about 1.5 to 2.0
inches. The serial no. stamped in the elongated
jackplate is, a few numbers away from John Lennon’s V81
325 Capri. See additional detailed photos and
information regarding this particular guitar on pages 20-21 of
“Rickenbacker, Pioneer of the Electric Guitar” (1995) published by Rittor Music, Japan. This guitar
is in near-mint original condition with its original HSC.
1958 Rickenbacker Capri 325 in Two-Tone Brown. This is one of the approximately 30 model 325
guitars made by Rickenbacker in 1958, and has survived in
excellent shape with its original Two-Tone Brown finish.
Like the Polynesian and the Longbody Capri, above, it has one
pickup selector switch, two knobs and a single pickguard;
unlike them, it has the f-hole soundhole, which was featured
on most 325s of that era. This guitar was one of the last of
the model 325s made in 1958 and is in excellent original
condition with its OHSC.
1958 Rickenbacker Capri 335 in Autumnglo. This early 335 model has the features of the early
Capri/Combo prototypes -- single gold pickguard, Combo-style
wiring, Kauffman vibrola, one-piece neck and an extra-long
âcrescentâ
soundhole. All original with OHSC.
1958 Rickenbacker Capri 345 in Autumnglo. This early 345 model differs from the 335 in that it
has an extra “middle” pickup. This is a very early
example bearing the serial number 3V121. All original with
reissue HSC.
1961 Rickenbacker 4000 in Mapleglo. This early example of
Rickenbacker’s foray into the world of electric bass
guitars would be the template on which the 4001/4003 line of
basses would be built, with only a few fundamental structural
changes through the present day. Note the thru-body
one-piece neck with Walnut headstock wings, magnetic horseshoe
pickup, over-sized ½” diameter tuning pegs with
“Elephant ear” tuning machines, w/b/w nut, metal
V/T knobs and tug bar. It even has its original bridge
cover with built-in mute! OHSC.
See “Rickenbacker Guitars – Vintage Bass Guitars” for more vintage Rickenbacker basses.
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Combos and Tulip Body Models
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1954 Rickenbacker Combo 600 in Turquoise; 1954 was first year of issue for the Combo series, this
guitar was one of the first Rickenbacker 6-string solid body
guitars made and probably the first one with a painted finish
as opposed to the “blond” finish on other early
ones. Gold metal short pickguard and single-coil pickup; clear
speed knobs appear this year only; note the original Turquoise
paint on the nut. Some finish checking on body. Bolt-on neck
with semi-hollow chambered body construction. All
original with OHSC.
1957 Rickenbacker Combo 850 in Mapleglo. This early solidbody Combo is a very fine example of one of
Rickenbacker’s earliest two-pickup solidbody guitars.
Unlike the 600 and 800 single-pickup Combo series, the 850 had
a solid body with the glued-in set-neck joint visible on the
backside of the guitar and a “toaster-top” pickup
in the neck position. All original with OHSC.
1956 Rickenbacker Combo 600
in Turquoise; early model with gold metal pickguard and
single-coil pickup; some finish checking on body. Bolt-on neck
with semi-hollow body construction. All original with
OHSC.
1957 Rickenbacker Combo 800
in White; early model with double-coil pickup; burnished metal
pickguard may not be original.
Otherwise all original with OHSC.
1958 Rickenbacker Combo 600 in Fireglo
with anodized black metal pickguard and single-coil pickup;
some finish checking on body. Bolt-on neck with semi-hollow
body construction. With OHSC.
1956 Rickenbacker Combo 400
in Brown; early solid body model with neck-through
construction, gold metal pickguard and early single-coil
pickup in neck position. All original with OHSC.
1956 Rickenbacker Combo 400 in Cloverfield Green; very early solid body model with long metal bolts holding
the body wings to the maple neck-thru. Stunning original
example in excellent condition with OHSC.
1957 Rickenbacker Combo 400
in Jet Black (later “Jetglo”); early solid body
model with gold metal pickguard and early single-coil pickup
in neck position. All original with OHSC.
1957 Rickenbacker Combo 450
in Cloverfield Green; rare color; early solid body model with
gold metal pickguard and two single-coil “toaster”
pickups in bridge and neck positions. All original with
OHSC.
1959 Rickenbacker Combo 450 in Mapleglo. This stunning example is in excellent shape with
beautifully flamed maple wood front and back. All original
with OHSC.
1960 Rickenbacker Combo 450
in Fireglo with gold metal pickguard and silver metal truss
rod cover stamped with “Rickenbacker” logo in
excellent condition. All original with OHSC.
1957 Rickenbacker 950 Tulip in Jet Black. Along with the early Combo 450 model, the short-scale
model 950 is one of the few Rickenbacker guitars with two
pickups but one volume and one tone control. The middle
knob is a pickup selector switch. This early
“Tulip” model – so called because of the
shape of the body horns – has the “sax
strap” ring and hook. This particular guitar also
comes with the sax strap (see photo). In excellent shape
with OHSC.
1958 Rickenbacker 1000 Tulip in Jet Black. This short-scale model has the least frets of all the
short-scale models; as opposed to the 900, 950 and 310-325
models which were short scale with 21 frets, this model is
short scale with 18 frets. The badge on the bass horn is
a custom nameplate from a previous owner. In excellent shape
with OHSC.
1959 Rickenbacker 950 Tulip in Brown. This transitional 950 is finished in a rare
non-traditional dark reddish brown color with a slight burst
effect on the sides. In excellent shape with OHSC.
1960 Rickenbacker 950 Tulip
in Fireglo. This guitar has a rare “matte”
Fireglo finish found on some early 1960 models (see 330F
Fireglo 1960, above). It is all original with a
short-scale neck, “tulip” body metal truss rod
cover and plastic Kluson tuner buttons. It also has the
“sax strap” ring on the back, common to the
400-series Combo models. In excellent shape with OHSC.
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Capris
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1958 Rickenbacker Capri 330
in Mapleglo; original body finish, neck refinished; refretted
padauk fretboard; roller bridge and trapeze tailpiece;
original case.
1958 Rickenbacker Capri 335 in Mapleglo; original body finish, near mint all
original example; padauk fretboard; roller bridge and Kauffman
vibrato tailpiece; OHSC.
1958 Rickenbacker Capri 335
in Autumnglo; body-only refinish; otherwise all original with
roller bridge and trapeze tailpiece; early silver tolex
case.
1958 Rickenbacker Capri 360
in Autumnglo; beautiful figuring in maple woodgrain on body
front; shows playing wear on body and neck; no cracks or
breaks. All original with gray
“elephant-hide” covered OHSC with red lining in
good condition. Formerly owned and played by Mitch
Easter.
1958 Rickenbacker Capri 365
in early Fireglo finish; beautiful ribbon-flamed alder on body
front; shows slight playing wear; no cracks or breaks.
All original with roller bridge and early Ac’cent
vibrola with badge. Potentiometer dates are 48th week of
1958. Gray OHSC with red lining in very good
condition.
1959 Rickenbacker Capri 360
in Mapleglo, with subtle ribbon-flamed alder on body front and
highly flamed maple neck; in near mint condition. Gray OHSC
with red lining also in near mint condition.
1959 Rickenbacker Capri 365
in beautiful shade of burgundy-tinged Fireglo finish; MINT
museum-quality guitar looks like it was made yesterday; not a
nick, ding, scratch or swirl on it. This one-owner
guitar was unplayed and under the bed for 50 years;
Ac’cent vibrola. All original with OHSC also in
mint condition.
1959 Rickenbacker Capri 335 in Autumnglo. This guitar was acquired from the son
of the original owner. It is in near mint condition. There
are several pinholes on the upper bout where some metal
letters spelling the owner’s initials used to be. All
original with OHSC.
1959 Rickenbacker Capri 335
in a Tomato Red burst with a beautiful flamey neck; this is a
very lightweight guitar in excellent original condition.
Kauffman vibrola, roller bridge. OHSC.
1959 Rickenbacker Capri 345
in Fireglo with extremely rare Mahogany body with distinct
ribbon flame; significant finish wear on back of neck;
Kauffman vibrola. All original with OHSC.
1959 Rickenbacker Capri 360 in Autumnglo
all original with gray “elephant-hide” covered
OHSC with red lining in good condition.
1959 Rickenbacker Capri 365
in nicely ambered Fireglo, with highly flamed 3-piece maple
neck with original finish; early Ac’cent vibrola and
silver HSC.
1959 Rickenbacker Capri 375
restored and refinished to a beautiful shade of
Autumnglo/Fireglo by Larry Davis in 2009. Guitar body,
flamed 3-piece maple neck and electronics original.
Restored with neck reset, new repro Kluson tuners, toaster
pickup covers and Kauffman vibrola; restoration included new
fingerboard with crushed pearl inlays; period-correct
HSC.
1960 Rickenbacker Capri 335 in Fireglo. This guitar was acquired from the son of the original
owner. It was played and well taken care of. Note
the original Ac’cent vibrato and roller bridge.
The finish color is a very mellow “dusty
rose” shade of Fireglo. All original with
OHSC.
1960 Rickenbacker Capri 360 in Fireglo. This guitar was acquired from a relative of the original
owner – who evidently did not play it very much. It is
in museum quality collector condition with its original
trapeze tailpiece. All original with OHSC.
1960 Rickenbacker Capri 360
in beautiful Fireglo finish; guitar is in very nice shape with
slight weatherchecking on back bottom; original trapeze
tailpiece; formerly in personal collection of Dave Rogers of
Dave’s Guitar Shop. All original with OHSC.
1960 Rickenbacker Capri 365
in deep red ambered Fireglo; very clean guitar in very nice
shape, showing very little playing wear; with roller bridge
and Kauffman vibrola. All original with
OHSC.
1960 Rickenbacker Capri 365 refinished in Jetglo. If John Lennon had played a full-scale Capri, this
might well have been his choice. This guitar came to me
stripped of its original finish and redone in a mottled brown
color. I had it professionally refinished Jetglo
in nitrocellulose. Apart from the body refinish, this
guitar is in original condition, all original hardware and
electronics with triangle fretboard inlays and early
Ac’cent vibola. OHSC.
1960 Rickenbacker Capri 360 in Antique Sunburst. This guitar was likely a custom order, as the original
finish is not a standard finish for this era, but is very
dark around the edges. The neck was stripped of its finish
when I acquired it; only the neck was refinished. All else
is original. Later silver HSC.
1961 Rickenbacker “New Capri” 365
in near-mint condition; Fireglo finish; closely resembles
guitar on cover of “Rittor Rickenbacker” book,
except this example has the original oven knobs; roller bridge
with Ac’cent vibrola and crushed pearl inlays,
introduced on this model and not seen again until 1964. All
original with OHSC.
1961 Rickenbacker "New Capri" 365
in Mapleglo finish; roller bridge with Ac’cent vibrola,
crushed pearl inlays. Excellent condition with OHSC.
1961 Rickenbacker “New Capri” 375
in Fireglo finish. This guitar was acquired from the
original owner’s daughter. It is in near mint
condition. All original with OHSC.
1961 Rickenbacker “New Capri” extremely rare
near-mint 330
in deep, deep red Fireglo with flamed maple 3-piece neck;
small pro-repaired expansion crack in lower front body edge by
end strap-button; trapeze tailpiece. This guitar (serial
# AE) is unique in that 1) it may be the first of the
“New Capri” body style in the 330 model, 2) it may
be one of the first Ricks to sport the 5th “blend”
knob and 3) it has a factory-bound neck, not standard on the
330 model. All original with OHSC.
1962 Rickenbacker “New Capri” 375 in Fireglo. Another acquisition from the son of the original
owner, this guitar was played and well taken care of. Note the
difference in coloration between this guitar and the 375
immediately following. All original with OHSC.
1963 Rickenbacker “New Capri” 375
in near-mint condition; beautiful and rare three-pickup
version with Autumnglo finish; Ac’cent vibrola and
roller bridge, oven knobs, gold guards and TRC. Silver
OHSC.
1963 Rickenbacker “New Capri” 365
in near-mint condition; beautiful and rare two-pickup version
with Autumnglo finish, having pearloid-button Van Ghent tuners
and the then-new “Sceusa” neck, a patented
asymmetrical neck design – thicker on the bass side,
thinner on the treble side. This design provided a more
“natural” fit for the player’s hand, making
barre chording easier. A few Rickenbacker guitars in the
early-to-mid ‘60s were produced with the Sceusa neck; it
was then discontinued. (See Rittor Music book, page 95.)
Ac’cent vibrola and roller bridge, oven knobs, gold
guards and TRC. Silver OHSC.
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Full Bodied Guitars
– “F” Model
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1958 Rickenbacker 335F
full bodied guitar in a dark shade of Autumnglo. Black
neck binding and fine finish checking throughout; early serial
no. 2V183; believed to be one of three 330F models produced in
1958; possibly the one pictured on page 184 of Richard Smith
book. This extremely rare guitar rests in a
period-correct archtop HSC that fits perfectly.
1960 Rickenbacker 330F
in Fireglo. This guitar is a very clean example in a
rich Fireglo finish with a few dings around the unbound
edges. All original with gray OHSC.
1960 Rickenbacker 345F in Fireglo. This striking example has a rich shade of Fireglo and has
been well played by its previous owners. Very rare to
find a 345 full bodied Rickenbacker from this era in solid
condition that plays and sounds great. OHSC.
1960 Rickenbacker 365F in Fireglo with extended Kauffman vibrola. This one-owner guitar
has been well taken care of and is presented in a custom-made
form-fit G&G case designed specifically for this rare
model. HSC
1959 Rickenbacker 360F
in Mapleglo with tortoiseshell binding. This unique
guitar has several unusual features and may have been a custom
order. Note the shark-fin inlay at the first fret, the
tortoise body binding the dramatically flamed maple front and
the flamed maple neck. All original with OHSC.
1960 Rickenbacker 360F
full bodied guitar in Fireglo; rare deep shade of Fireglo,
this guitar was acquired from the son of the original owner
and has been kept in pristine condition. All original with
gray OHSC.
1960 Rickenbacker 360F
full-bodied guitar in Mapleglo; slight playing wear on back of
neck; finish otherwise excellent with minimal checking;
unusual checkered binding on both body front and back.
This exceptionally rare guitar is all original with silver
OHSC.
1960 Rickenbacker 375F
full-bodied guitar in Mapleglo; this guitar is in
collector-quality condition with only barely detectable wear
on the original un-lacquered rosewood fingerboard; checkered
binding on body front and back. Comes with three original
toaster pickups with unusual “musical notes”
Ac’cent vibrola and roller bridge. This
exceptionally rare guitar is all original with gray
OHSC.
1961 Rickenbacker 375F
full-bodied guitar in Fireglo with checkered binding on body
front and back. Rickenbacker phased out construction of
this “old style” full-bodied guitar model in 1961,
with a few exceptions (see next entry). This guitar is
presented in a custom-made form-fit G&G case designed
specifically for this rare model. HSC
1964 Rickenbacker 365F full-bodied guitar in Mapleglo. This unusual guitar appears in the time warp in
between the “old style” F-body models, ending in
1961-62 and the “new style” F-body models
beginning around 1966/67. It definitely has an
“old style” body with the old-style pearloid
fretboard inlays; however, both sides of the double-bound body
are done up in a unique “white-over-black”
two-layered binding seldom seen on a Rickenbacker instrument
before or since. The white pickguard and truss rod cover
are original, the potentiometers date to mid-1964 as does the
serial number on the jackplate, which has but a single output
without Ric-O-Sound. Comes with an “old
style” musical note Ac’cent vibrola and black HSC.
1967 Rickenbacker 360F
full-bodied guitar in Fireglo. This guitar has been
much-photographed and is a stunning example of this model in
near mint condition with highly-figured maple front and back
with checkered binding on both sides and long "R"
tailpiece. This rare guitar is all original with
OHSC.
1967 Rickenbacker 370F
in Fireglo. This guitar is a very clean example in a
rich Fireglo finish with an amazing back of highly flamed
bookmatched maple, one of the rarest of the mid-‘60s
“F”-bodied models. All original with gray
OHSC.
1967 Rickenbacker 360F-12
full-bodied guitar in Fireglo finish. This near-mint
guitar is an early mid-‘60s “F” body model in
12-string configuration. All original with black
OHSC.
1968 Rickenbacker 360F
full-bodied guitar in Jetglo. This is one of the few
full-bodied “F” series guitar produced by
Rickenbacker in the Jetglo finish. The guitar is all
original and in excellent condition with a rectangular black HSC
with a large “Rickenbacker” metal badge on the case
top.
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60’s
Solidbodies
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Rickenbacker 1961 model 425
full-scale solidbody in Fireglo with metal truss rod cover
stamped “Rickenbacker.” Shows playing wear
and slight rusting on bridgeplate. All original with
OHSC.
Rickenbacker 1961 model 460
in Fireglo with full-width crushed pearl fretboard inlays and
body binding. Gold truss rod cover and plastic pickguard.
Small “Matt Umanov Guitars” decal on
headstock back. All original with
OHSC.
Rickenbacker 1962 model 460 in Fireglo. Note the transition to white pickguard and truss rod cover
of this 1962 model as contrasted with the gold appointments of
the 1961 model 460 directly above. Also different are
the mother of pearl triangle inlays on this guitar, which
replaced the crushed pearl inlays on its 1961
counterpart. Comes with original OHSC.
Rickenbacker 1962 model 625
in Fireglo. This rare and well-preserved guitar has
neck-thru construction common to many Rick solidbody guitars
and is finished in Fireglo with pearloid full-with inlays and
early ‘60s “vintage” control knobs.
All original with transitional red-lined silver tolex case.
Rickenbacker 1964 model 625
in Jetglo.
This deluxe solidbody guitar has full-with crushed-pearl
inlays. Comes with OHSC.
Rickenbacker 1965 model 615
in Fireglo. This solidbody guitar is the twin of the
export model 1995 discussed below. All original with
OHSC.
Rickenbacker 1963 model 460
in Mapleglo with full-width inlays, body binding, original white
plastic pickguard and TRC; original Van Ghent tuners -- pearloid
knobs with “Harley Tank” gear covers on headstock
back; possible body and neck refinish with slight staining on
back. Excellent condition with
OHSC.
Rickenbacker 1964 model 425
full-scale solidbody in Mapleglo. Nice shape with OHSC.
Rickenbacker 1964 model 425
full-scale solidbody in deep red Fireglo finish with unusual
blank white crescent TRC with metal “Electro” badge
added; does “neck thru” construction make this a
Rickenbacker 425 v. an Electro ES-17? Could be either, I
guess -- or both. Excellent shape with brown
OHSC.
Rickenbacker 1965 Electro model ES-16
short-scale guitar in Fireglo. Same features as 425/ES-17
except short-scale. Excellent shape, all original with
brown OHSC.
Rickenbacker 1965 Electro model ES-17
in Fireglo. Same features as model 425 except for
headstock logo. This is the “regular scale”
version of the Electro model ES-16. Excellent shape,
with neck-thru construction; all original with OHSC.
Rickenbacker 1967 model 425
in Jetglo. Rare finish color for this guitar, reminiscent of
George Harrison’s 1962 Jetglo model 425. All original
with silver OHSC.
Rickenbacker 1965 model 450-12
in Mapleglo finish. This 12-string guitar plays nicely and
is light as a feather. All original with black
OHSC.
Rickenbacker 1966 model 450-12
in Fireglo finish. This 12-string guitar plays nicely and
is in excellent shape. All original with silver vintage
reissue HSC.
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Export
Models
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Rickenbacker 1964 model 1995 Rose Morris
solidbody export (corresponding non-export model is 615). Very
nicely aged Fireglo finish with vintage solid black knobs with
white mark; shows some playing wear on fretboard and back of
neck. All original with OHSC.
Rickenbacker 1964 model 1999 bass. Along with a lineup of guitars produced for export to
Rose Morris in the UK, Rickenbacker produced this
“S” model export bass. Rose Morris
designated it as the model 1999. In Rickenbacker terms,
it was the same as a model 4001S, “S” standing for
“Standard,” with no body binding and dot neck, vs.
the “Deluxe” model 4001, with checkered body
binding and crushed pearl fretboard inlays. (For examples of
the Deluxe models, see “Vintage Basses,” below).
The model 1999 is highly desirable because of its use by many
“British Invasion” artists in the mid-1960s and
its relatively limited production. The model also
received a big boost later on when artists like Paul McCartney
and Chris Squire of Yes began using their 4001S and 1999
models to add the distinctive Rick “clank” sound
to their repertoire. That sound is in part attributed to
the horseshoe bridge pickup found on all Rick 4000/1 series
basses through circa 1968.
Rickenbacker 1965 export model 1993-12
in Fireglo finish. Very rare and desirable 12-string
with bound body, “F” soundhole and unbound
fretboard with dot markers; this is the type of Rick 12 played
by Pete Townshend and other Brit Invasion guitar
players. This guitar had a neck repair that is at least
15 years old and is very solid, actually giving a bit more
heft to the neck and balance to the guitar. Loudest,
clearest Rick 12er I’ve ever played. Excepting
neck repair, all original with OHSC – with
“Rickenbacker” metal badge on case, characteristic
of guitars exported to Rose Morris dealership in UK.
Rickenbacker 1964 model 1993-12 in Fireglo Another 12-string with bound body, “F”
soundhole and unbound fretboard with dot markers; this guitar
was likely intended for export to the UK. Note the early
12-string “short” truss rod cover on this August
1964 model, compared to the one on the prior 1965
example. This early model has the
“Rickenbacker” metal badge on its silver tolex
case.
Rickenbacker 1965 export model 1997/330S (like model 330 except “F” soundhole) in
Fireglo finish with “F” soundhole and the
“R” tailpiece, new for this model in 1965.
This guitar has the rare “Secusa” neck (see patent
drawing) and is all original with silver OHSC.
Rickenbacker 1966 export model 1997
(like 335 except “F” soundhole) in unusual
“Redburst” finish. Guitar shows playing wear
and is all original with an original silver Rickenbacker case
that has been custom-lined with light-green plush material.
Rickenbacker 1967 export model 1998
(like a 345 model with “F” soundhole) in Fireglo
finish, played by the likes of Pete Townshend and other Brit
Invaders. This model has a roler bridge, three toaster
pickups and an Ac’cent vibrola. All original with
OHSC.
Rickenbacker 1967 export model 365S
in Fireglo. This unusual model was one of several
exported to Italy as a 360-12 string with an “F”
soundhole. These were converted by the distributor to
6-string guitars by the addition of black plastic inserts that
covered the octave channels and tuner holes in the top and
sides of the headstock, and the addition of a 6-string nut,
bridge and Ac’cent tailpiece. All original
with OHSC.
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1964-1970 6-String Guitars
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1964 Rickenbacker 310
in Fireglo. Another rare model which can be viewed as
the more popular 325 or 1996 (export) model minus the middle
pickup and vibrato unit. All else is the same:
f-hole, single-line Kluson tuners, short-scale neck. A
lightweight guitar that’s fun to play and has been
played. OHSC.
Rickenbacker 1964 model 365 in Fireglo. An early example (serial # DG) of the then-new “round
top” deluxe 360-style body, with crushed pearl fretboard
inlays, Van Ghent pearloid button tuners, Ac’cent
vibrato and bound soundhole. Note the lack of checkered
binding on the back and the very dark shade of Fireglo.
All original with OHSC.
Rickenbacker 1964 model 375 in Burgundy.
This guitar is a custom order made for Randy Bachman of Bachman Turner Overdrove (BTO) and The Guess Who fame.
It's one of the first 1964 "round-tops" and has an extremely rare original translucent Burgundy finish;
also equipped with Van Ghent tuners. Randy had ordered a 375 in "Mahogany" from Rickenbacker
and this is what he received. All original in excellent condition with OHSC.
Rickenbacker 1965 model 365 O.S.
(“old style”) in Fireglo with binding on body
front and back. Guitar has been played but is in very
nice shape with usual surface impressions and dings but
nothing through to the wood. All original with
OHSC.
Rickenbacker 1965 model 365
O.S. Yet another one, but this time in near mint
condition and with Van Ghent pearloid button tuners.
All original with OHSC.
Rickenbacker 1965 model 365
in Mapleglo with Van Ghent tuners. This early 1965 guitar
(serial # EA) closely resembles the guitar played by the lead
player, Beau Charles, of the Knickerbockers as seen on the
YouTube video of their recording, “Lies,” made in
late 1965. Shows normal playing wear. All original
with OHSC.
Rickenbacker 1965 model 360
in Mapleglo in nice shape, very clean with nice figuring on
back; lacquer has been removed from fretboard and
refretted. Otherwise all original with
OHSC.
Rickenbacker 1966 model 365 O.S.
in Fireglo, double-bound with Ac’cent vibrola and
temporarily sporting vintage oven knobs, gold pickguards and
TRC (original white plastic and knobs are in case).
Shows playing wear. All original with OHSC.
Rickenbacker 1966 model 360
in Fireglo, very clean example with “R” tailpiece
and toaster pickups; beautiful figuring on back; some pitting
on fretboard. All original with silver vintage reissue
HSC.
Rickenbacker 1966 model 345
in Fireglo, very clean with three toaster-top pickups and
Accent vibrato. All original with silver OHSC.
Rickenbacker 1966 model 375 O.S.
in Fireglo, very clean with three toaster-top pickups, deluxe
crushed pearl fretboard inlays, double-bound body and Accent
vibrato. All original with silver OHSC.
Rickenbacker 1967 model 360
in Fireglo. This guitar is in nice condition with a
lighter than usual Fireglo finish that has ambered out quite
nicely. All original with silver vintage reissue
HSC.
Rickenbacker 1967 model 330
in Mapleglo. A very nice example of this
“non-deluxe” edition Rickenbacker; shows very
little playing wear; nice light flame maple front and back;
slight shadow-stain on back treble-side. All original
with OHSC.
Rickenbacker 1967 model 330 in Jetglo. A very nice example of this
“non-deluxe” edition Rickenbacker in a rare Jetglo
finish, new for the 330/360 models in this year; shows very
little playing wear. All original with OHSC.
Rickenbacker 1968 model 365
in Azureglo, a dark blue finish color first introduced by
Rickenbacker circa 1968. This guitar is in excellent
shape. It has a roller bridge and Ac’cent vibrola
and is all original with its silver OHSC.
Rickenbacker 1968 model 330 in Azureglo. This guitar shows playing wear around
the edges but the original rare Azureglo finish remains
intact. All original with silver OHSC.
Rickenbacker 1967 model 360
in Jetglo. This guitar is a pristine example of one of
the first “roundtops” to be issued in Jetglo. All
original with checkered back binding, crushed pearl inlays and
silver OHSC.
Rickenbacker 1966 model 375
in Mapleglo with roller bridge, Ac’cent vibrola and Van
Ghent tuners. Guitar is in excellent condition.
All original with OHSC.
Rickenbacker 1967 model 375
in Jetglo. This guitar has a roller bridge, three
toaster pickups and an Ac’cent vibrola and shows normal
playing wear. All original with OHSC.
Rickenbacker 1968 model 370
in Fireglo. Unusual three-pickup model with
“R” tailpiece is in excellent condition with a few
impressions on back of neck. All original with silver
vintage reissue HSC.
Rickenbacker 1967 model 365
in Greenburst. A real conversation piece. Other than
the refin, it’s all original with roller bridge,
Ac’cent vibrola and vintage silver OHSC.
Rickenbacker 1968 model 370 O.S.
in Fireglo. Unusual three-pickup double-bound model with
“R” tailpiece is in excellent condition and sports
a deep shade of ambered Fireglo. All original with black
OHSC.
Rickenbacker 1968 model 370 O.S.
in Mapleglo. Three-pickup double-bound model with
“R” tailpiece is in excellent condition and sports
a highly figured maple top. All original with silver
OHSC.
Rickenbacker 1968 model 365 O.S.
in super-rare “Moonglo” finish. This
non-standard factory finish starts as a dark cherry at the
body edge, moves to Fireglo and then amber at the very
center. I have seen three other Rickenbackers in this
finish – the 1968 370 O.S. and the 375 described below,
and the 1968 366-12 listed under
“Convertibles.” This guitar has a roller
bridge, Ac'cent vibrola and a professionally repaired
slight seam separation on the back of the body that is stable
and barely noticeable. All original with silver OHSC.
Rickenbacker 1968 model 370 O.S.
in Moonglo. The finish on this guitar is a duplicate of
the rare “Moonglo” finish on the 365 O.S.
discussed above. This guitar was acquired from the
legendary Tatado Collection and has a deep ambered Fireglo
finish distinctively darker in hue than the standard Fireglo
or Autumnglo finishes. This rare double-bound guitar is
all original with silver tolex HSC.
Rickenbacker 1968 model 375
in Moonglo. Yet another 1968 model with the
“Moonglo” finish, this one with the rounded top
and Ac’cent vibrato. Rumor has it that there were five
Rickenbacker guitars made in 1968 with this
“experimental” finish; the three presented here
plus the model 366-12 in the “Convertibles”
section of this website account for four of the five. OHSC
Rickenbacker 1968 model 375
refinished in Azureglo. When I acquired this guitar, it
was refinished in Metallic Emerald and didn’t look so
hot. I had it stripped and refinished in nitrocellulose
lacquer in this spiffy color by Lay’s of Akron.
Other than the refin, it appears to be all original with
roller bridge, Ac’cent vibrola and
OHSC.
Rickenbacker 1968 model 365
O.S. in Burgundy finish, which became a standard finish in
1968. This guitar is, to my knowledge, a one-of-a-kind
double-bound model with Burgundy finish, roller bridge
and Ac’cent vibrola, and shows slight playing wear and
some finish wear to back of neck. All original with
OHSC.
Rickenbacker 1968 model 330
in Fireglo, very clean with two toaster-top pickups and
“R” tailpiece. All original with silver
OHSC
Rickenbacker 1969 model 360
O.S. in Fireglo. According to the original owner, from
whom I purchased it, this very unusual guitar
was acquired from a Rickenbacker dealer as New Old Stock
in 1977. The new owner corresponded with Mr. Francis Hall,
then owner and president of Rickenbacker Corp., to verify its
authenticity and year of manufacture. It has been kept
unplayed in its case in a climate-controlled environment and
is in museum-quality condition – not a ding, scratch or
a swirl mark on it. The crushed pearl inlays of the
fretboard have maintained their bright sparkle. The
finish of the guitar is a deep burgundy-tinged Fireglo
burst. All original with black OHSC with blue
lining.
Rickenbacker 1969 model 381
in Fireglo. The model 381 was introduced in 1968.
This early production (serial # IA) model has toaster pickups
(model was issued with hi-gains later in 1969) and a
German-carve body front and back with checkered body
binding front and back and Van Ghent tuners. This example is
in excellent condition with mild weatherchecking on the finish
and binding and mild finish wear. All original with
black OHSC with red lining.
Rickenbacker 1970 model 381 in Mapleglo. This unusual guitar was probably made especially for
a trade show. In the cavity behind the slash hole is a
typed sticker from Rickenbacker Inc. stating the model and
serial number of the guitar. It is in near-mint original
condition with its original Mapleglo finish, crushed pearl
fretboard inlays, double bound checkered binding and
toaster-top pickups. Comes with OHSC.
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1964
– 1970 12-String Guitars
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Rickenbacker 1964 model 360-12
in a deep shade of Fireglo. This is one of the earliest
Rickenbackers made in the “new style,” introduced
in 1964, with rounded-over top edge and checker-bound back.
Note the early chrome-topped control knobs (with no V/T
lettering), introduced in 1964. It also has the distinction of
having open-back tuners, a rare feature found on some of the
early 360 12-string models. All original with silver
OHSC.
Rickenbacker 1965 model 360-12
in nicely ambered Mapleglo finish with light flame in
body and neck; old refinish by Barth Guitar Shop, Paul Barth,
proprietor. (Paul Barth was associated with Rickenbacker
Corp. in the 1950’s.) But for the Barth sticker in
the soundhole (and the dark slots for the octave strings in
the headstock), you would not suspect that this
guitar had been refinished. Other than the
refin, all original with OHSC.
Rickenbacker 1965 model 360-12
in Mapleglo; very clean early example. Deluxe
crushed-pearl inlays. All original with silver vintage
reissue HSC.
Rickenbacker 1966 model 370-12
in Fireglo. Fretboard has been scraped and given a fresh
coat of clear lacquer, allowing the original white crushed
pearl inlays to show through. Except for the addition of a
12-saddle RIC bridge, guitar is all original with
OHSC.
Rickenbacker 1967 model 330-12
in Mapleglo. A nice example of this model with nice
light flame in the body front. One photo shows this
guitar with its companion 1967 330 in Mapleglo. All original
with OHSC.
Rickenbacker 1967 model 330-12
in Fireglo. A very clean example of this model in Fireglo. All
original with OHSC.
Rickenbacker 1967 model 330-12
in Jetglo. Rare example in this finish color, introduced as
a standard color this year. All original with silver
OHSC.
Rickenbacker 1968 model 360-12
in Jetglo with deluxe crushed pearl fretboard inlays. Nice
example of the first of an early Jetglo 12-string. All
original with black tolex OHSC.
Rickenbacker 1968 model 330-12
in Fireglo with a beautiful quilted maple top and unusual
soundhole that appears to be bound but has been professionally
trimmed in white paint. There’s no way to tell if
this was a factory treatment or not, but likely it was
not. The photos speak for themselves. This guitar
has been beautifully preserved and shows only minor playing
wear, though it has light finish checking throughout. It
plays very nicely and comes in a black OHSC with red
lining.
Rickenbacker 1968 model 360-12 O.S.
in Jetglo. Here is a rare double-bound 12-string in
original Jetglo finish, which visually really sets off the
crushed pearl fretboard inlays. All original with black
tolex OHSC.
Rickenbacker 1970 model 360-12 O.S.
in Jetglo – left-handed model. Well they
don’t get much rarer than this! Here is the
counterpart to the 360-12 O.S. guitar above, except in the
very rare left-handed version. No doubt this was a
custom order, as left-handed double-bound Rickenbackers from
this era are seldom seen. All original with silver tolex
OHSC.
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Convertibles
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Rickenbacker 1966 model 366-12
in Mapleglo. This is one of the first of the
“converter comb” models produced by Rickenbacker
in late 1966. It is essentially a 360-12 with a mechanism (the
converter comb and arm assembly) that allows the player to
dampen or mute the octave strings by engaging them with a
pull-down metal comb. Although intriguing in design, it
is somewhat impractical to play as a 6 string guitar, and many
of this model have had the converter mechanism removed over
the years. Without the comb engaged, this plays and
sounds like a 12-string of the same era, but with a bit more
interior wood bracing to accommodate the converter
hardware.
Rickenbacker 1966 model 366-12 in Mapleglo. This is identical to the preceding guitar
except this example is in near mint condition with a stunning
birdseye-flamed maple back. According to the Richard
Smith book, only two of this model were produced in 1966 in
Mapleglo finish. If so, these are those – see them
together in photo. All original with
OHSC.
Rickenbacker 1967 model 366-12 O.S.
in Mapleglo. This extremely rare guitar is one of the few
“converter comb” models issued by Rickenbacker as
a double-bound deluxe model. I have seen only two others of
this model in the O.S. or WB style, a 1967 Fireglo and a 1967
Autumnglo (see both, below). Near mint and all original
with OHSC.
Rickenbacker 1967 model 366-12 O.S. in Autumnglo. Also known as a "WBBS" (with binding
both sides) model.
In excellent condition. Silver OHSC.
Rickenbacker 1967 model 366-12 O.S.
in Fireglo. In near mint condition, no playing wear.
Silver OHSC.
Rickenbacker 1968 model 366-12
in Fireglo. This near-mint example of this unusual
guitar is all original. Black OHSC.
Rickenbacker 1968 model 366-12
in super-rare “Moonglo” finish (see 365 O.S. in
same finish, above). A very nice example in excellent
condition with minor finish wear. Silver OHSC.
Rickenbacker 1967 model 376-12
in Fireglo finish. This possibly unique guitar appears
to have left the factory with a middle pickup placed just
below the converter mechanism. I have never seen another
three-pickup convertible 12-string. This example has an
old pro-repaired headstock crack which has settled and does
not affect playing or tuning; otherwise in excellent condition
with minor finish wear. Silver OHSC.
Rickenbacker 1968 model 336-12 in Mapleglo. The 336-12 was the 330 series version of
the “converter comb” 12-string guitar; this
example is very clean with nice figuring on the back.
All original with OHSC.
Rickenbacker 1968 model 336-12
in Fireglo. Another example of the converter-comb
concept applied to a 330-12 guitar. Light playing wear.
All original with OHSC.
Rickenbacker 1968 model 336-12
in Azureglo. An example of the converter-comb concept
applied to a 330-12 guitar in super-rare Azureglo
finish. The rarity of this finish on this model could
make it one-of-a-kind. Light playing wear. All
original with OHSC.
Rickenbacker 1968 model 456-12
in Burgundy. This rare guitar – which is
essentially the converter-comb version of the 450-12 –
may be a one-of-a-kind in Burgundy finish; if so, it could be
the Burgundy 456-12 pictured in the 1968 Rickenbacker color
catalog. Shows some playing wear and is all original
with silver OHSC.
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Other
Instruments
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Rickenbacker 1968 model 6005
Banjoline tenor banjo-style instrument in Mapleglo
finish. This rare instrument was developed by
Rickenbacker in conjunction with Eddie Peabody, whose name
appears on the truss rod cover. It has 6 strings,
two pairs and two singles, and a very thin banjo style neck,
along with a special roller bridge and Ac’cent
vibrola. The body style of the 6005 Banjoline resembles
that of a 360 model, with rounded front body edge and
checkered binding on back and bound neck, though without
deluxe fretboard inlays. This excellent example is
all original with black OHSC.
Rickenbacker 1969 model 6006
Banjoline in Fireglo. The model 6006 Banjoline has a
381-style body with German carve and checkered binding on body
front; however, there is no carve and plain binding on the
back; has crushed-pearl fretboard inlays, special roller
bridge and Ac’cent vibrola. The model 6006
Banjoline is one of the few Rickenbacker production instrument
with a checker-bound headstock. This near-mint example
is all original with black OHSC.
Rickenbacker 1968 model 6006 Banjoline
in Mapleglo. This example has substantially the same
features as the Fireglo model 6006 Banjoline except with a
Mapleglo finish and slight variation on the screen print of
the headstock logo. This near-mint example was acquired
from the Tatado Collection and is all original with black
OHSC.
Rickenbacker 1971 model 370
in Fireglo with rare bound headstock, which was a feature
offered on the 360 and 370 models for a brief time in the
early 1970s. This transitional guitar has features from
the '60s: full-width crushed pearl inlays and checkered
body binding; and features from the '70s: early-design
hi-gain pickups, 24-fret fingerboard (extended from 21
frets), wider headstock and factory Grover
patent-pending tuners. It was one of the last
360/370 6-string models made prior to the transition in
1972/73 to pearloid triangle inlays and plain (non-checkered)
body binding in addition to 24 frets, wider headstock and
non-Kluson tuners (for 6-strings), all features that have
generally continued as standard. This guitar shows some
finish wear and a spot of buckle rash. Silver HSC.
Rickenbacker 1971 model 360 in Fireglo
with rare bound headstock. Like the model 370, above, but
with two hi-gain pickups. OHSC.
Rickenbacker 1971 model 360
Slant Fret in Fireglo with bound headstock. In addition
to being a rare bound headstock model, the nut, frets,
pickups and bridge on this guitar are all slanted. The
design theory behind this short-lived model was that
the slight slant of the bass-side frets toward the guitar body
would more naturally fit the hand and allow for more
comfortable, accurate fretting of the guitar. Slant-fret
Ricks were only produced in the early 1970s. This particular
example has Kluson tuners, checker-bound back, crushed pearl
inlays and early hi-gain pickups. All original with
OHSC.
Rickenbacker 1973 model 360-12
in Burgundyglo. This rare transitional model has late
‘60s features generally not found on post-1971 12-string
models, including full-width crushed pearl fretboard inlays,
toaster-top pickups and 21-fret neck. In addition,
Burgundyglo is a rare finish color for this period.
Comes with special-order brass nut and black, magenta-fabric
lined OHSC.
Rickenbacker 1973 model 360-12 in Jetglo. Here is another rare transitional
model that has late ‘60s features generally not found on
post-1971 12-strings, including full-width crushed pearl
fretboard inlays and a 21-fret neck, although it does have
hi-gain pickups. Comes with black, magenta-fabric lined
OHSC.
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Vintage Bass Guitars
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1961 Rickenbacker 4000 in Mapleglo. This early example of
Rickenbacker’s foray into the world of electric bass
guitars would be the template on which the 4001/4003 line of
basses would be built, with only a few fundamental structural
changes through the present day. Note the thru-body
one-piece neck with Walnut headstock wings, magnetic horseshoe
pickup, over-sized ½” diameter tuning pegs with
“Elephant ear” tuning machines, w/b/w nut, metal
V/T knobs and tug bar. It even has its original bridge
cover with built-in mute! OHSC.
Rickenbacker 1964 model 4001S in Fireglo. This bass has the appointments of the Rose Morris Export model 1999, except it wasn’t exported to the UK but produced
for domestic sale. The “S” signifies the
“Standard” model, with dot fingerboard markers,
no body or neck binding and mono output; as opposed to the
“Deluxe” model, with crushed pearl fingerboard
inlays, body and neck binding, and Rick-O-Sound, which was
added to the 4001 Deluxe series in late 1968. Reissue silver
HSC.
Rickenbacker 1965 model 4005
bass guitar in Mapleglo finish. This is one of the first
ones made in 1965, the first year of production for this
model; shows normal playing wear, including some finish wear
at arm rest and back of neck. All original with silver
OHSC.
Rickenbacker 1966 model 4005
WB bass guitar in Fireglo. The double-bound body makes
this bass guitar especially rare. In very fine
condition; the neck was replaced at some point in its life,
apparently by the factory after 1970; the triangle inlays were
recently replaced with crushed pearl inlays and the neck
refinished by noted Rickenbacker luthier Paul
Wilczynski. Comes with non-original Black HSC that fits
the bass perfectly.
Rickenbacker 1966 model 4005
WB bass guitar in Mapleglo. This rare double-bound
instrument has been professionally refinished in its original
Mapleglo, except for the fretboard which has the original
finish and wide “crushed pearl” inlays. A
stunning example with some flamed maple showing in the
body. Custom-made Armitage silver HSC.
Rickenbacker 1967 model 4005 bass guitar
in Jetglo. This instrument is finished in Jetglo, last
seen as a standard Combo finish in 1958 and re-introduced to
the standard RIC color spectrum in 1967. This bass shows
some playing wear and comes with original silver HSC.
Rickenbacker 1967 model 4005 bass guitar
in Fireglo. This example of Rick’s only
semi-hollow bass model is in near mint condition with strong
Fireglo color throughout. All original with black
OHSC. The model 4005 was produced in limited numbers and
eventually phased out of the Rickenbacker lineup in the early
1980s.
Rickenbacker 1974 model 4005 WB bass guitar in Jetglo. This example of Rick’s only
semi-hollow bass model was phased out in 1968 but revived in
1974. It is in near mint condition and is unusual because of
the ‘60s style full-width crushed pearl inlays and the
‘60s style elongated headstock; other 4005 examples of
this period have triangle pearloid inlays and a shorter
headstock. All original with black OHSC.
Rickenbacker 1965 model 4001 bass guitar in Fireglo. Here’s a 4001 that shows some
playing wear and has been partially restored. This bass is a
fine example with low action and sounds great. With
black Rickenbacker HSC
Rickenbacker 1967 model 4001 solidbody bass guitar
in Fireglo. This very fine example is in near mint all
original condition with original horseshoe bridge pickup,
crushed pearl fretboard inlays and walnut headstock
wings. Rickenbacker solidbody basses such as this 4001
deluxe model were produced in modest numbers in the
mid-1960s. It is unusual to find one in such unsullied
shape as this. With silver tolex OHSC in near mint
condition.
Rickenbacker 1968 model 4001 solidbody bass guitar
in Mapleglo. This example is in excellent condition and
has the “deluxe” appointments of crushed
pearl inlays, checkered body binding, bound neck and
Ric-o-Sound stereo and mono output jacks. All original with
black OHSC. The model 4001 featured
“neck-thru” construction where the neck –
from headstock to body end – is one piece of maple with
body and headstock “wings” attached to the
sides. This example also has the “horseshoe”
bridge pickup, which was modeled after the pickup design
patented by Rickenbacker in 1934 for its first electric
guitars. The “pickup cover” on top of
the strings is actually part of the pickup and contributes to
the sound. Starting in 1969, Rickenbacker replaced the
horseshoe pickup with a hi-gain in the bridge position for the
4001 model. Although the first Rickenbacker bass was
produced in 1957, 1960s Rickenbacker solidbody basses are
rare. The model 4001 basses were not very popular until
the early 1970s, when various “name” artists began
playing them. Thereafter, the neck-thru model 4001/4003
became the most popular instrument in the Rickenbacker
catalog, a phenomenon which has lasted until the present day.
Rickenbacker 1968 model 4001 solidbody bass guitar in Mapleglo. This example is dated a few months earlier than
the previous entry and has the elongated “tail” on
the lower part of the bridge pickup surround that was a common
feature until late 1968 when the rectangular surround
appeared. Another difference is that this example has a
single mono output jack, as contrasted with the previous
later-issued example which had Ric-o-Sound mono/stereo
jacks. Original HSC.
Rickenbacker 1968 model 4001 bass guitar
in Fireglo. This very fine example is in near mint all
original condition with original horseshoe bridge pickup,
crushed pearl fretboard inlays and walnut headstock
wings. It was purchased as a new instrument in 1968 by
the original owner and acquired from his family in 2013.
He was originally a stand-up bass player in a polka band, and
strung this bass with black tapewound strings, which yield a
softer, more “thump-y” sound. With silver
tolex OHSC in near mint condition.
Rickenbacker 1968 model 4001 bass guitar in Fireglo. Another very fine example is in near mint
all original condition with original horseshoe bridge pickup,
crushed pearl fretboard inlays and walnut headstock
wings. It was purchased as a new instrument in 1968 by
the original owner and I acquired it from him in 2016.
He was originally a member of an early ‘70s rock group,
and the bass had been “under the bed” since the
end of his band days. With silver tolex OHSC in near mint
condition.
Rickenbacker 1968 model 4001 bass guitar in Jetglo. This bass is finished in Jetglo. I have
included it here to show the beauty of this model, with its
full-width crushed pearl inlays and checkered binding. With
silver reissue HSC.
Rickenbacker late 1968 model 4001 bass guitar
in Fireglo. Here’s a 4001 that has been played and
also has the new style rectangular bridge pickup surround that
replaced the “tapered tail” surround on the 4000/1
models in late 1968. The rectangular treble pickup surround is
still the style for the modern Rick basses today.
Although showing playing wear, this bass is a fine example
which sounds great. With silver vintage reissue silver
HSC.
Rickenbacker 1968 model 4000 bass guitar in Fireglo. Rickenbacker’s first basses produced in the late
1950’s were designated as model 4000 and had a single
bridge pickup. In the early 1960’s, this style was
largely abandoned in favor of the addition of the neck pickup
to provide a greater tonal range, resulting in the model 4001.
Here we have a very rare, all original example of an
unmodified model 4000 in Fireglo in excellent condition with
its original silver OHSC.
Rickenbacker 1969 model 4001
in Fireglo. Beginning in late 1968 the design of the
model 4001 began transitioning. Gone was the
“horseshoe” treble pickup, replaced by a
“high-gain” pickup bobbin with a magnet underneath
it, instead of the magnetized horseshoes on top. Flat
Grover tuners were substituted for Klusons, and were
distinguishable due to the “ box” housing the
tuning gears on the rear of the headstock and the wide metal
bushings on the front. This all original example dates
to February 1969 and is one of the first such transition
models. In all other respects it is like its 1968
brethren, but with a very slightly shorter headstock, which
would continue to “shrink” through 1972.
Also new for 1968/69 was the black tolex case with blue
velveteen lining. OHSC
Rickenbacker 1972 model 4001
in Mapleglo. 1971-72 saw several changes to the model 4001,
the most prominent of which was a shorter headstock. The
crushed pearl inlays would be retained until very early 1973,
then replaced by pearloid inlays. 1972 also was the last year
of bass models fitted with a “tug-bar,” which is
the clear lucite fingerrest mounted on the pickguard next to
the neck pickup. This example is in excellent shape with OHSC.
Rickenbacker 1972 model 4001
in Jetglo. Another of the last of the Rick basses from
the crushed pearl inlay era, this instrument dates to late
1972. All original with OHSC.
Rickenbacker 1972 model 4001
in Fireglo. Yes, we have one in Fireglo! All
original with OHSC.
Rickenbacker 1972 model 4000
in Fireglo. Here we have something special. In
early 1972 Rickenbacker introduced the “shedua
strip” – the “skunk stripe” walnut
strip forming the centerpiece of the neck – in its
4000-series bass line, thus changing from a one-piece to a
three-piece neck construction. This bass guitar is a
model 4000, which means it has only the treble pickup, as
opposed to the 4001 model which has an additional pickup a the
neck position. In late 1972, the neck-thru
construction was no longer used and the 4000 model changed to
set-neck construction; that is, the neck tenon was glued into
the body and does not run the entire length of the bass. (See
1975 Rickenbacker 4000) So this particular instrument is one of the few 4000 models
produced – only in 1972 – with a three-piece
neck-thru construction. Pretty cool! In very
clean condition with its OHSC.
Rickenbacker 1972 model 4000 in Mapleglo. We had the good fortune of discovering another early 1972
bass with a single treble pickup and the rare neck-thru
construction including the shedua strip. Like its Fireglo
brother, above, it was not routed under the pickguard for a
neck pickup but the body was constructed as a
“pure” 4000. In very clean condition with OHSC.
Rickenbacker 1973 model 4001
bass guitar in Fireglo. 1973 was a transition year for
Rickenbacker, and there is no better illustration of this
transition than the early 4001 series bass guitars made in
1973. This February 1973 (serial # MB) model has
full-width pearloid inlays, checkered binding, a gap-tooth TP
and a toaster pickup in the neck position. All original
with OHSC.
Rickenbacker 1973 model 4001
bass guitar in Jetglo. This April 1973 (serial # MD)
model has full-width pearloid inlays, checkered binding, a
gap-tooth TP and a toaster pickup in the neck position.
All original with OHSC.
Rickenbacker 1973 model 4001 bass guitar in Azureglo. This April 1973 (serial #
MD) model has full-width pearloid inlays, checkered binding,
a gap-tooth TP and a toaster pickup in the neck position,
and is in the very rare Azureglo finish. All original
with OHSC.
Rickenbacker 1973 model 4001
bass guitar in Burgundy. This May 1973 (serial #
ME) example has full-width pearloid inlays, checkered
binding, a gap-tooth TP and a toaster pickup in the neck
position. All original with OHSC.
Rickenbacker 1973 model 4000 bass guitar in Jetglo. The 4000 model resembled
the “S” model 4001 in that it had no body binding
and dot fretboard markers; however, the 4000 series usually
had a “glued in” neck, as opposed to the
“neck thru” construction of the 4001 model and had
only a treble pickup and no neck pickup. This early 1973
(serial # MB) had the gap-tooth tailpiece that was shortly
thereafter phased out. Also evident in the photos is the
“green” treble pickup with the black paint mostly
worn off. This bass has been refinished in Jetglo and comes
with its original case.
Rickenbacker 1974 model 4000
bass guitar in Mapleglo. This early 1974 (serial # NA)
bass guitar has an unusually dark fretboard with original neck
binding, sometimes seen on the early 1974 models. OHSC.
Rickenbacker 1975 model 4000
bass guitar in Fireglo. This guitar is in unusually fine
condition with a deep, luminous Fireglo finish and near mint
save a few surface impressions in the clearcoat. This is
a real treasure for someone looking for a model 4000 from this
era, as many were played and played hard. In the opinion
of some, the lack of routing for the neck pickup provides
added body stability and “twang” to the sound of
the bass. All original with OHSC.
Rickenbacker 1975 model 4001
bass guitar in Walnut. This bass has several interesting
features: it is finished in an unusual
“non-bursted” uniform Walnut finish; it is an
early “black trim” model with white body and neck
binding but black pickguard; and it has the rare black
plexiglass truss rod cover, screened underneath with a
white Rick logo. This type of TRC was transitional
for the black trim basses and was replaced the following year
by the “raised letter” TRC still in use
today. A very clean example with OHSC.
Rickenbacker 1982 model 4003S-5
bass guitar in Jetglo. This 5-string bass guitar is reported
to be one of five examples made by Rickenbacker for developing
what would eventually become the standard production model
4003S-5 bass, first issued in 1986. One of these
prototypes was reportedly given by Rickenbacker to Chris
Squire in 1982. This prototype has several interesting
features not found on the 5-string production model.
First is the super-elongated headstock, which is the same size
as that of the 8-string bass, later produced starting in 1987.
Next is the bridge configuration, which has five individual
screw-thru intonation adjustment saddles, much like the 4005
or 6-string guitar models, in contrast to the standard
Rickenbacker bass bridge for the 4001 and 4003 models. This
bass also has many “S” type features:
unbound body, dot inlays on fretboard and toaster-top neck
pickup; however, it has the dual Ric-o-sound input jacks and
neck binding, not normally found on “S” body
basses. OHSC.
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Fender Guitars
(NOTE: Some images will
enlarge when clicked again)
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The Fender Vintage Olympic White Collection. You may
notice that many of the Fenders instruments listed below are
finished in the Olympic White custom color. This is no
accident. My goal was to obtain one of each vintage model in
Olympic White. So far I have at least one of each of the
following models in Olympic White: Jazzmaster, Jaguar,
Electric XII, Stratocaster, Mustang, Duo-Sonic I and II and
Musicmaster I and II. I also have all of the ‘60s bass
guitars in this custom color: P-Bass, Jazz Bass, Bass V, Bass
VI and Mustang Bass. As far as I can tell, I am missing only a
vintage Olympic White Telecaster, which would be quite hard to
find in a standard ‘60s version. But I am still
looking.
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Jazzmasters - Original Finish
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Fender 1959 Jazzmaster
in Sunburst with gold anodized pickguard. This guitar is
in near mint condition and is a very fine example of the early
Jazzmaster, a model introduced by Fender in late 1958.
The gold anodized aluminum pickguard was a feature of the
earliest Jazzmasters; it was later replaced with multi-ply
guards made of nitrocellulose in either tortoiseshell (usually
for sunburst models) or white (often for custom-colored
models). The original concept behind this guitar was
that there were separate “lead” and
“rhythm” circuits, with separate pre-set controls
each engaging both pickups; with a flip of a slider switch,
the player could break from lead to rhythm mode and back; the
rhythm channel T/V controls are two discreet
“thumbwheels” located by the selector
switch. Comes with a very clean original tweed
hardshell case with gold plush lining.
Fender 1959 Jazzmaster
in Sunburst with gold anodized pickguard and a “slab
board” (thick non-veneer rosewood fretboard,
discontinued in late 1962). One way to tell a slab-board neck
in a photo is by the slight convex arc where the bottom of the
front headstock (natural or painted) meets the curve of the
solid rosewood at the base of the headstock. (The more
accurate way is by sighting down the fretboard at the bottom
of the neck.) Another example of this early model that
shows some playing wear; very good plus condition. Comes with
a very clean original tweed hardshell case with gold plush
lining.
Fender 1959 Jazzmaster
in Sunburst; slab board. This guitar is a rare
transition model that has a 2-tone sunburst finish more
typical of an early 1958 Strat and an original white 3-ply
guard; shows some playing wear. Original brown tolex
case with gold plush lining.
Fender 1961 Jazzmaster
in Blonde with slab board. Fender continued the
tradition of it’s ‘50s “Tele Blonde”
finish (also known as a “Mary Kay” finish on
‘50s Strats) in a few Jazzmasters, where the grain of
the ash body shows through the translucent cream finish and is
nicely complemented by the tortoiseshell pickguard. This
example is in very fine condition with a nice burl figuring to
the maple neck and headstock; with original hangtag.
The rosewood fretboard also has some very unusual dark/light
figuring; shows some case wear on sides (many ‘60s
Jazzmasters have rubbing wear on the sides because they were
somewhat loose in their cases.) Brown OHSC.
Fender 1961 Jazzmaster
in Sunburst with slab board. This example is in stunning
condition with the grain of the ash body showing through the
gorgeous tri-color Sunburst finish. Perfect tortoise
guard. A time capsule. Brown OHSC.
Fender 1962 Jazzmaster
in Olympic White with matching painted headstock and
tortoiseshell guard in very fine condition. Fender
started painting the headstocks of certain Jazzmaster models
in the early ‘60s; this example is one of a few that
have both a slab board and a painted headstock. Brown
OHSC.
Fender 1962 Jazzmaster
in Triple Gold with slab board and anodized guard.
Here’s one you won’t see many of and may never see
again. This was allegedly one of a factory run of 20
done in 1962 with Shoreline Gold painted body, gold anodized
guard and gold hardware. This guitar is in near mint
condition except for some wear to the body paint, which appear
to have been very thinly clearcoated. Further adding to
its rarity, the body wood appears to be Mahogany. The
gold hardware is immaculate and includes a gold trem
arm. This guitar is stunning in its original gold
plush-lined brown tolex case.
Fender 1962 Jazzmaster
in Shoreline Gold with matching headstock and slab board. This
example shows to good effect the combination of matching
painted headstock and body with a slab board and the
“green” nitrocellulose pickguard of the pre-CBS
era of many early ‘60s Fender models. It is also
“oranged-out” at the top armrest contour.
Brown OHSC.
Fender 1962 Jazzmaster
in Candy Apple Red. Though the paint has chipped off on
the edges of the headstock, but the body is in very fine
condition. A silver underpaint was applied to the CAR
finish, which tended to make it more brittle around the
edges. An early non-slab board model. White
OHSC.
Fender 1963 Jazzmaster
in Black. Unlike Rickenbacker, Fender had no jazzy or
surf-oriented name for Black, though Black was a custom
color. This example appears all original, but it is
almost too clean, so I’m not really sure; extra string
tree added. The headstock decal is typical of the Fender
decal on the rare Black headstock; as the patent info and
model designation on the Fender decals were black, the Fender
decal applied to its guitars finished in Black simply stated
“Fender.” White OHSC.
Fender 1963 Jazzmaster
in Dakota Red. This is another stunning finish color
with matching body and headstock complemented by a
“green” nitro pickguard and original white
HSC. This shade of red is darker than the Fiesta Red
(below), but in photos it may appear similar. Shows some
case wear rubbing on body sides. White OHSC.
Fender 1963 Jazzmaster
in Sunburst. This is one of my favorites because it was
my first vintage Jazzmaster. It is in spiffy condition,
with the usual case-rub wear on the sides and a bit on the
back contour – and that cool white OHSC. As
those of you who own one may know, some of these old guitars
have the coolest aroma – this one especially – of
wood, leather, metal and – whatever. When I open
the case I get a whiff and go right back to the moment I first
looked at this guitar. Someone should bottle this
stuff!
Fender 1964 Jazzmaster
in Sonic Blue. The finish on this guitar is a nicely
greened-out blue that shows mucho playing wear, especially on
the back. (It is also possible that this is Daphne Blue
– another Fender custom color of that era that would be
a shade darker than Sonic.) It has transition
knobs with the flared bottoms (for number display) with small
chrome top inserts. White OHSC.
Fender 1963 Jazzmaster
in Blonde. This model shows rugged playing wear around
the bottom edges; “beat but sweet” as they
say. Contrast the wear on this example with the
’61 Blondie, above, in much nicer shape. Brown
HSC.
Fender 1965 Jazzmaster
in Sunburst. This is a very clean example showing the
transition logo introduced in early 1965 and with clay dot
markers on the fretboard. Black OHSC.
Fender 1965 Jazzmaster
in Lake Placid Blue. One of the most sought-after of the
‘60’s custom colors, this example clearly shows
the white undercoat where the top finish has chipped
off. Note also the “pearl dot” fretboard
inlays that replaced the “clay dots” starting in
mid-1965; this is also one of the last “small
headstock” examples; notice also that most of the
body finish color has “greened out,” whereas the
headstock is “true blue.” White OHSC.
Fender 1965 Jazzmaster
in Blue Ice Metallic, showing more “transition”
features: neck binding, pearl dots, larger headstock,
“F” neckplate. Another custom color, this is
among the rarer ones; the finish shows some wear and
weather checking. Black OHSC.
Fender 1965 Jazzmaster
in Olympic White. This transition model has bound neck,
pearl dots, larger painted headstock with ’65 transition
logo and double-line Kluson tuners; “F”
plate. Shows horizontal weather checking, which is only
noticeable on close inspection and shows some playing
wear. Black OHSC. Can one have too many Olympic
White Jazzmasters? I say, “No!”
Fender 1966 Jazzmaster
in Fiesta Red with the “block” fretboard markers
that replaced the pearl dots in the post-CBS era beginning in
1966/67 and with all the other “transition”
features mentioned above. This guitar is in near mint
condition and show no playing wear with a custom color finish
that is uniform and unfaded throughout. Nice black
OHSC. This is the one to have if you’re having
only one!
Fender 1965/66 Jazzmaster
in Candy Apple Red faded to Bronze. This is a transition
model showing yet another variation, as can be seen by the
headstock decal with the “Jazzmaster” logo in
larger script ending at the high “E” tuner. This
logo design lasted through the ‘70s for the Jazzmaster
model. The finish on the front of this guitar has turned
a uniform Bronze color; under the ‘guard and on the
back, it is CAR. The neckplate is a very late
“L” series number, not an “F” plate;
hence the 65/66 designation. Black OHSC.
Fender 1966 Jazzmaster
in Ocean Turquoise with all the transition features except for
block markers. A very nice example of this rare custom
color, acquired from the late Bob Jeniker of Park Avenue
Music. Bob was a Jazzmaster collector
par excellence and a true gentleman. The white
OHSC may not be period-correct, but it looks great with this
custom color! RIP, Bob.
Fender 1966 Jazzmaster
in Candy Apple Red. This example shows all the
transition features of the era, including the block
markers. The headstock finish is quite weather-checked,
as is part of the body. Black OHSC.
Fender 1973 Jazzmaster
in Olympic White, blocks and binding, natural headstock.
This example has the “F” tuners, introduced in
1966 for all models – some models sooner than
others. The Jazzmaster continued into the ‘70s,
though many post-1967 examples are in Sunburst finish (with
black pickguard). Black OHSC.
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Jazzmasters - Refinished
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Fender 1960 Jazzmaster
in Sherwood Green with matching painted headstock and slab
board. Here’s the story: when I acquired this guitar the
body had been stripped and the headstock partially stripped
– all but the original decal and the green paint around
it had been removed. It was professionally refinished in
Sherwood Green, the color of the headstock paint, in
nitrocellulose lacquer by Norm Isaac, who did restoration work
for the Rock Hall of Fame in its early days. This is a rare
color, especially for this era. The original decal and part of
the original headstock paint is intact, as is evident in the
photos. Other than the refinish, this guitar is all original
with original “mint green” pickguard. Brown
OHSC with orange plush lining.
Fender 1960 Jazzmaster in Dakota Red. I had a bit of fun with this one.
All original except for body refinish and reproduction gold
anodized pickguard. I thought the color combination
looked great. Comes with original Brown OHSC.
Fender 1961 Jazzmaster
in Daphne Blue. Here’s the story. I acquired
this guitar in its original state except the body had been
badly refinished. I was delighted to find that the refin
did not extend to the body cavity, and the letters
“DAFF” were written in pencil in the space between
the pickups. I also discovered that the words
“Daphne Blue” were written on a piece of masking
tape holding the pickup wires to the metal pickguard
shield. I had the body refinished to match the original
Daphne Blue paint in the body cavity, of course preserving the
original paint where found. All original except for body
refin, this is a classy guitar, plays great and is a piece of
Fender history. Brown OHSC with orange plush lining.
Fender 1962 Jazzmaster
in Fiesta Red, refinished body only in nitro with original
neck/headstock finish, slab board and original tortoise
guard. Though one usually associates a tortoise guard
with a sunburst or blonde finish, this color combination is
very striking and was often found with original custom-color
finishes in the early ‘60s (see the Chinery
collection). OHSC.
Fender 1963 Jazzmaster
in Sea Foam Green, refinished body and matching headstock in
nitro with original tortoise guard. Another striking
custom color nitro refin with original tortoise guard.
OHSC.
Fender 1964 Jazzmaster
in Burgundy Mist, refinished body and matching headstock in
nitro with original mint-green/white nitro guard. I
acquired this guitar in its refinished state; an original in
this finish is almost impossible to find; this is considered
to be among the rarest of the custom color finishes.
Black OHSC.
Fender 1963 Jazzmaster
in Fiesta Red. The body, neck and headstock are
refinished and it has a repro “mint green”
guard. It is still a ‘60s Jazzmaster with a
clay-dot neck. Brown HSC.
Fender 1964 Jazzmaster
in Fiesta Red; body only refin; original neck and unpainted
headstock finish with original “mint green”
pickguard. This guitar likely started its life as a
custom color because of the original nitro white guard.
Somewhere along the way it was refinished in Fiesta Red, which
is how it was when I found it. White OHSC.
Fender 1965 Jazzmaster
in Sonic Blue. This one has a story, too. I
acquired an original 1965 Jazzmaster neck with original
headstock finish and decal in Sonic Blue and matched it up
with a loaded 1965 Jazzmaster body which I had refinished to
match the headstock. It turned out great. Other
than body refin and the repro mint green guard, this guitar is
all period-correct. The Sonic Blue color has faded to an
almost mint green, as the clearcoat applied in the mid-1960s
to Fender guitars tended to be thicker and “amber
out” more frequently than the guitars finished in the
early 1960s. Black period correct HSC with orange
lining.
Fender 1960 Jazzmaster
in Blue Ice Metallic. The body, neck and headstock are
refinished and it has a repro “mint green” guard.
What can I tell you? This was my first foray into
rehabilitating a Jazzmaster – in this case, someone had
painted it with exterior house paint and the guard was
MIA. I got it for a song from a local dealer who had
taken it in on trade. I thought it would look cool in
this custom color, but later learned that this finish color is
not period-correct for 1960. Nonetheless, the pro nitro
refin job, also by Norm Issac, looks pretty good. As was
typical for some '59-'60 Fenders, the serial # is
stamped on the bottom of the neckplate. Brown OHSC.
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Jaguar
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Fender 1962 Jaguar
in Fiesta Red. The very rare original finish shows wear
on the back, and the neck has some very nice figuring in the
wood that is obscured by the heavy finish wear. Still, a
very unique example from 1962 in this rare custom color, the
first year of production for the Jaguar. White OHSC.
Fender 1962 Jaguar
in Sunburst. Another very early example in near mint
condition with mute intact and with original
“Jaguar” hangtag dated to 1962. Brown OHSC.
Fender 1963 Jaguar
in Sonic Blue with gold hardware. Sonic Blue is one of
the most sought after Fender Custom Colors from the pre-CBS
era. This stunning example has the added rarity of
factory gold hardware, all the way down to the screws.
White OHSC.
Fender 1963 Jaguar
in Sea Foam Green. Very rare finish color, some playwear.
White OHSC.
Fender 1964 Jaguar
in Olympic White. A very clean example with beautiful
tortoise guard, mute intact and black OHSC.
Fender 1965 Jaguar in Candy Apple Red. A very clean example with
some playwear, mute intact. White reissue HSC.
Fender 1962/63 Jaguar
in Blonde. This example shows lots of playing wear; the
wood grain in the ash body shows through the yellowed blonde
finish. Brown HSC.
Fender 1966 Jaguar
in Lake Placid Blue. This guitar has neck binding, pearl dots
and “F” tuners and neckplate; some mild weather
checking on the finish. Black OHSC.
Fender 1966 Jaguar
in Olympic White. Compare the “banana
yellow” finish on this guitar with the pristine white
finish on the 1964 Olympic White Jaguar, above. Quite a
difference! The finish on this guitar has uniformly
“yellowed out” and shows horizontal
weatherchecking. Larger headstock with “F”
tuners and block fretboard markers. Black OHSC.
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Electric XIIs
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Fender 1965 Electric XII
in Olympic White with matching painted headstock; early
example with “L” plate and Kluson double-line
tuners; pearl fretboard dot markers. Black OHSC.
Fender 1965 Electric XII
in Lake Placid Blue with matching painted headstock; near mint
condition; early example with “L” plate and Kluson
double-line tuners; pearl fretboard dot markers; original
hang-tag with guitar serial # written in faded ink.
Black OHSC.
Fender 1966 Electric XII
in Olympic White with matching painted headstock; finish has
uniformly yellowed; stamped “SPECIAL” on exterior
of neckplate joint; “F” tuners; pearl fretboard
dot markers; mild finish checking on body. Black OHSC.
Fender 1966 Electric XII
in Candy Apple Red with matching painted headstock;
“F” tuners; pearl fretboard dot markers; shows
playing wear and finish checking. Black OHSC.
Fender 1966 Electric XII
with tortoise guard and body stripped to natural ash and
clearcoated. Plays great, all original except for body
refin. OHSC.
Fender 1966 Electric XII in Sunburst with tortoise guard. With OHSC.
Fender 1966 Electric XII painted in Blue Ice Metallic with matching
headstock; finish is slightly weather checked. With
modern fitted HSC.
Fender 1966 Electric XII
painted in Firemist Gold with matching headstock;
finish is slightly weather checked. With modern fitted
HSC. Welcome to Ron's Vintage
Fender 1966 Electric XII painted in Burgundy Mist with matching
headstock; finish is slightly weather checked. With
modern fitted HSC.
Fender 1966 Electric XII painted in Firemist Silver with matching
headstock; finish is uniformly weather checked throughout
body. With modern fitted HSC.
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Basses
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Fender 1961 Stack-Knob Jazz Bass
refinished in Green Metal Flake. All original except for
body and headstock refin. Brown OHSC.
Fender 1962 Jazz Bass in Sunburst with tortoise guard. This
all-original one-owner bass is a very nice example of an early
slab-board three-knob Jazz Bass (May ’62) with
individual string mutes. Brown OHSC.
Fender 1963 Jazz Bass
in Olympic White with tortoise guard and matching painted
headstock. All original and in excellent shape; comes
with original hangtag with serial # written in faded
ink. White OHSC.
Fender 1963 Jazz Bass
in Olympic White with tortoise guard; body only refin with
original unpainted headstock; neck shows playing wear.
Brown OHSC.
Fender 1964 Jazz Bass
in Sunburst with tortoise guard. This bass is a very
nice example of a clay-dot “L” plate, pre-CBS
Sunburst Jazz Bass. Black OHSC.
Fender 1965 Jazz Bass
in Olympic White with tortoise guard and matching painted
headstock. All original and in excellent
shape. Black OHSC.
Fender 1965 Jazz Bass in Olympic White with white nitrocellulose
“green” guard and matching painted
headstock. This bass shows heavy playwear but is
nonetheless all original and in excellent shape. Black
OHSC.
Fender 1966 Jazz Bass
in Sunburst with tortoise guard. This example has a bound neck
with pearl dots. Black OHSC.
Fender 1966 Jazz Bass in Candy Apple Red with white pickguard. This example
has a bound neck with pearloid block inlays and shows some
playwear. Black OHSC.
Fender 1962 Precision Bass
in Sunburst with tortoise guard; significant playing wear to
front and especially back; great vibe! Brown OHSC.
Fender 1965 Precision Bass
in Olympic White with tortoise guard; pearl fretboard dots,
“L” plate. Shows mild playing wear but is in
overall excellent condition. Black OHSC.
Fender 1966 Bass V in
Olympic White with tortoise guard. This unusual bass has
a long body and a short neck compared to a Jazz Bass (see
photo), but is 1.5 inches longer overall and also has a
full-length scale (just fewer frets!). Unusual long
neckplate with 600xxx serial number (found on all Bass V
models). A rare bird. Black HSC.
Fender 1966 Bass V in Sunburst with tortoise guard. This all
original bass has some weather checking and playwear.
Black HSC.
Fender 1963 Bass VI
in Ocean Turquoise. This rare bass has
the then new-style 4-switch control plate, pre-“L”
neckplate and clay dots. The finish on the backside of the
guitar has met with some misfortune, but is original.
Black HSC.
Fender 1963 Bass VI
in Sunburst with tortoise guard; early “L” plate
model; clay dots, Kluson “guitar” tuners;
Jazzmaster-style bridge with threaded saddles; vibrato
arm. Black HSC.
Fender 1963 Bass VI
in Olympic White with tortoise guard; another “L”
plate model with clay dots; finish is in very nice condition;
Mustang-style bridge with round saddles; tremolo arm.
Brown OHSC.
Fender 1966 Mustang Bass
in Olympic White; “oval” tuning keys; shows some
playing wear on back. Gray OHSC.
Fender 1966 Mustang Bass
in Daphne Blue with original pearloid guard; nicely aged
finish with no checking; “oval” tuners; original
headstock decal states “Fender” only; could be
prototype or very early production model. Gray
OHSC.
Fender 1974 Jazz Bass
in Natural, ash body; maple fretboard with pearloid block
markers; white guard; four-bolt neckplate. Black OHSC.
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Stratocasters
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Fender 1959 Stratocaster
in Sunburst with original tortoise guard; slab board. The
tortoise guard was confirmed as original by a nationally known
vintage guitar appraiser. Tweed OHSC. Written in ink inside
the case pocket is: “James Hendricks –
1962.” Make of that what you will!
Fender 1962 Stratocaster in Olympic White with original “mint green”
guard; old refinish and refret by Philip Petillo with sticker
in neck pocket; brass bridge saddles; black Fender
late-60’s HSC with orange/red lining.
Fender 1964 Stratocaster
in Lake Placid Blue with original nitro guard; old pro
body-only refinish in nitrocellulose lacquer; white OHSC with
some markings and Maine music store badge on case exterior.
Fender 1965 Stratocaster
in Olympic White. Transitional guitar with pre-CBS
features such as small headstock and Kluson tuners; has pearl
dots and early “F” neckplate; neck dates to Sept
1965. The Olympic White finish has yellowed in contrast
to the white pickguard. Plays like a dream, sounds
great. Black OHSC.
Fender 1965 Stratocaster in Sunburst. Transitional guitar with pre-CBS
features such as small headstock and Kluson tuners; has
pearl dots and late “L” neckplate; neck dates to
June 1965. Black OHSC.
Fender 1965/66 Stratocaster in Candy Apple Red. Transitional guitar with pre-CBS
features such as small headstock and Kluson tuners; has pearl
dots and early “F” neckplate; neck dates to
November 1965. Black OHSC.
Fender 1971 Stratocaster
in Olympic White; rosewood board; white guard; truss rod
adjusts at body end; no skunk stripe; one of the last of the
“4-bolt” neckplate Strats; white finish uniformly
yellowed. Black OHSC.
Fender 1972 Stratocaster in Sunburst with rosewood board and white guard; one of
the first of the “3-bolt” neckplate Strats. Other
transitional features: truss rod adjusts at
headstock; two string trees and “skunk
stripe” on back of neck. Nice tri-color sunburst
finish. Black OHSC.
Fender 1973 Stratocaster
in Natural with maple fretboard and white guard; ash body has
nice grain; Black OHSC.
Fender 1973 Stratocaster
in Sunburst with rosewood board; hardtail (string-through
body, no tremolo unit); very nice shape with three-color
sunburst. Black OHSC.
Fender 1974 Stratocaster
in Blonde finish; maple board; bridge cover; hardtail; very
nice shape. Black OHSC.
Fender 1974 Stratocaster
in original Black finish; rosewood board; hardtail; very nice
original custom color Strat. Black OHSC.
Fender 1974 Stratocaster
in Sunburst finish; maple board; tremolo model with trem arm.
Black OHSC.
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Telecasters
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Fender 1966 Telecaster
in see-through Blonde finish with white guard; old body-only
refin looks perfect; original Kluson tuners. Black
OHSC.
Fender 1971 Telecaster
Custom in Sunburst with double-bound body; maple neck,
electronics and hardware are all original except body, which is
from a Japanese import reissue, and tortoise
guard. Black OHSC.
Fender 1972 Telecaster
in opaque Blonde; bridge cover; two string trees; very nice
example. Black OHSC. The last of the “4-bolt”
neckplate Teles.
Fender 1972 Telecaster
Thinline in see-through Blonde with maple board; two Fender
humbucking pickups; F-hole in semi-hollowbody; four
“witch-hat” V/T knobs with pearloid guard; near mint
condition. Three-bolt neckplate. Black OHSC.
Fender 1974 Telecaster
Custom in see-through Blonde with maple board; one Fender
humbucking pickup in neck position and one Fender single-coil
Tele pickup in bridge position; four “witch-hat” V/T
knobs with black guard; bridge cover. Black OHSC.
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The Little Guys
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Fender 1956 Musicmaster
in White body-only refinish, all else original; gold anodized
guard shows playing wear; short-scale guitar,“V”
neck. Beige OHSC.
Fender 1958 Musicmaster in Olympic White
with gold anodized pickguard; short-scale guitar, maple neck
dates to November 1958. Beige OHSC.
Fender 1960 Musicmaster in Desert Sand
with white single-ply pickguard and slab rosewood fingerboard;
short-scale guitar, neck dates to June 1960. Beige OHSC.
Fender 1964 Mustang in
Olympic White with tortoise guard. This is a very early
example of a pre-CBS Mustang with clay dots, “L”
plate and 1964-dated neck and pots; guitar shows mild playing
wear; no cracks or breaks or other issues; full-scale
neck. Beige OHSC.
Fender 1963 DuoSonic in
Olympic White with tortoise guard. This pre-CBS guitar has
a short-scale neck, as contrasted with the DuoSonic II,
below. The design differences between the two DuoSonic
models are interesting – see photo of both
side-by-side. Beige OHSC.
Fender 1966 DuoSonic II
in Olympic White with tortoise guard. The “II”
designates this guitar as having a full-scale neck. Gray
OHSC.
Fender 1966 Musicmaster II
in Olympic White with tortoise guard. The “II”
designates this guitar as having a full-scale neck. Gray
OHSC.
Fender 1968 Bronco in Fiesta Red. This guitar is essentially a Mustang with only the bridge
pickup. In excellent shape with silver OHSC.
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Gretsch Guitars
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Preface: The Gretsch guitars of the late ‘50s and
early to mid-‘60s described below were produced with a
dizzying array of features and variations. I have tried
to identify the main features of each guitar to the best of my
knowledge. I have deliberately stayed away, however,
from describing the knobs and switches on each guitar and
their respective functions, because some of them are simply
beyond me.
The source for much of the information is
Gretsch – The Guitars of the Fred Gretsch Company
by Jay Scott. I have also received information on some of
these guitars from Ed Ball, author of a forthcoming book on
the Gretsch Model 6120 (April 2010).
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Gretsch Guitars
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Gretsch 1957 Jet Fire Bird
in Oriental Red with two DeArmond pickups,
“hump-back” fretboard inlays, open-back Grover
tuners, a Melita bridge and a Bigsby; no zero fret. This
model 6131 is in nice original condition; shows some playing
wear on the mahogany back, which was painted black on this
model in this era and termed “ebony” with typical
Gretsch marketing overstatement. Gray OHSC.
Gretsch 1958 Anniversary
in two-tone Smoke Green, a single PAF Filter‘Tron pickup
in the neck position, “space control” roller
bridge and “G” tailpiece with
“diamond” plate on headstock; no zero fret.
This model 6125, made to commemorate the 75th anniversary of
the company, is in nice original condition with colors still
vibrant. You can’t beat this color combination
with the matching guard! Gray OHSC.
Gretsch 1959 Chet Atkins Tennessean
in Cherry Red with a single PAF Filter’Tron pickup in
the bridge position, “sign post” black pickguard,
bar bridge and a Bigsby. This model 6119 was the first
version of the Tennessean (see below) and the little brother
to the single-cutaway Chet Atkins 6120 (next). This example is
in nice condition with gray OHSC.
Gretsch 1959 Chet Atkins in Western Orange with two PAF Filter’Tron pickups,
“sign post” pickguard, horseshoe inlay on
headstock, gold hardware and appointments, open-backed Grover
tuners, compensated aluminum Bigsby bridge and a Bigsby
vibrola. This example is in excellent condition with a
uniform orange finish color and nice figuring in the maple
body, front and back, with a body thickness of 2.5 inches.
The features on this guitar are almost identical to
those on Brian Setzer’s original ’59 model 6120,
making this an extremely desirable and rare guitar. Gray
OHSC.
Gretsch 1959/60 Duo Jet
in Black with two PAF Filter’Tron pickups, “space
control” roller bridge and “G” tailpiece; no
zero-fret. This model 6128 was one of the last to be made
without the zero-fret, introduced on this model in 1960.
It is in nice original condition and shows some playing wear
on the mahogany back. Gray OHSC.
Gretsch 1961 Chet Atkins 6120
in Western Orange with two PAF Filter’Tron pickups,
“sign post” pickguard, horseshoe inlay on
headstock, gold hardware and appointments, open-backed Grover
tuners and a Bigsby vibrola. This example is significant
in that 1961 was the last year of production for the single
cutaway 6120. Also in 1961 the body thickness had been
further reduced to a “thinline” 2.0 inches.
This example is in excellent condition with a uniform orange
finish color and nice figuring in the maple body. White
“Cowboy” OHSC with tooled leather edges.
Gretsch 1961 Chet Atkins Country Gentleman
in Mahogany with gold pickguard; this was the last year for
the single-cutaway model 6122 Gents. Two
Filter’Tron pickups, Grover Imperial tuners, bar bridge
and Bigsby; painted-on F-holes; newer neck heel cap
cover. Nice original example with OHSC.
Gretsch 1962 Country Club
in Cadillac Green. This “thin-line” version,
new for the Country Club model in 1961, is rare in this color
and is stunning with its gold hardware and appointments.
This model 6196 has two Filter’Tron pickups, Grover
Imperial tuners, “dial-up” mute, a roller bridge,
“G” tailpiece and snap-on back pad with access to
interior through a port under the pad. The F-holes are
real. The combination of Cadillac Green finish color,
Country Club thin-line body and dial-up mute make this a very
rare guitar. Gray OHSC.
Gretsch 1962 Jet Fire Bird
in Oriental Red with double-cutaway, gold hardware and
appointments, roller bridge, open-back Grover tuners, cloth
backpad and Gretsch custom vibrola; except for a crack in the
pickguard at the screw, this guitar is in great shape and is a
veritable time capsule with ALL the related paperwork you
could possibly imagine – except the original sales
receipt! Paperwork includes: four-page quality control
checklist for this guitar and instructions, card on how to use
the polishing cloth, blank warranty card, pickup schematic,
“Action Flow” zero fret and nut information card,
all in a neat Gretsch envelope with the guitar’s serial
number written on it. A feature seldom seen on this
model is the snap-on cloth backpad, as there is no access port
underneath. Gray OHSC.
Gretsch 1962 Chet Atkins Tennessean
in a beautiful shade of Burgundy with two Hi-Lo ‘Tron
pickups, silver pickguard with "Chet Atkins
Tennessean," bar bridge, open-back Grovers, Bigsby and
painted-on F-holes. This example of the model 6119
Tennessean is in near-mint condition and has the same features
as the one played by George Harrison; in 1964 a plate would be
added to the headstock front with the “Tennessean”
designation. Gray OHSC.
Gretsch 1964 Chet Atkins 6120
in that great Gretsch Orange. This double-cutaway model
6120 with gold appointments and hardware has a horseshoe
inlay on headstock, single “flip-up” mute, back
pad, bar bridge and Bigsby. In this particular example,
the two Filter’Tron pickups have gold-plated
Hi-Lo’Tron surrounds. This is mentioned in the
Scott book as occurring at the factory in 1964 due to an
occasional shortage of Filter’Tron surrounds. In
1967, the double-cutaway 6120 would be named the
"Nashville." This guitar is in very fine condition
with the orange finish very strong and unfaded on the front;
somewhat faded on the back. Gray OHSC.
Gretsch 1966 Viking
in Cadillac Green – fully loaded with gold hardware and
appointments – and much, much, more! This
transitional guitar represents the best of the early
‘60s Gretsch craftsmanship with the wackiest cutting
edge ideas of its time – among them, the “floating
sound unit” a/k/a the “tuning fork bridge.”
This mechanism – located where the bridge should have
been (the actual bridge was moved down) was supposed to result
in increased sustain. Also on this model we find the newer
Super’Tron pickups, a single flip-up mute, “space
control” roller bridge, huge Grover
“kidney-button” tuners and a backpad for playing
comfort and access to internal controls. The headstock
plate says simply “Viking.” This particular
example comes with a nice set of vintage paper, including a
warranty certificate and quality control checklist for the
guitar, a “space control bridge” card and, last
but not least, a Gretsch “T-Zone tempered treble”
card. The “T-Zone” is the upper register of
the fretboard on this model (also on the White Falcon), and
was marked by treble-side dot inlays; starting at the 12th
fret, the frets were angled one degree sharp! Gray
OHSC.
Gretsch 1967 12-String
model in
Sunburst. This particular guitar says in tune very well
and the action is set low. The model 6076 features 2
Super’Tron pickups, wooden adjustable bridge,
“G” tailpiece and headstock designed for 12
strings, true F-holes in a hollowbody and triangle fretboard
inlays; Mike Nesmith of the Monkees played this model in a
Natural finish. This example is in very fine condition
with a few areas of binding surface discoloration. Gray
OHSC.
Gretsch 1967 Cats-Eye Electric
in Black. This rare guitar appears to have relatively
mundane features: Hi-Lo’Tron pickups, true
hollowbody, Van Ghent open-back tuners, plain back, bar bridge
and Bigsby. What makes this model 6117 distinctive are
the very cool “cats-eye” slash soundholes -- found
only on the high-end acoustic Synchromatic models of the
1940s -- replacing the traditional F-holes in the
body. It also has a Gibson-style control layout, with a
pickup selector switch and V/T controls for each pickup (and
no standby switch). Even for Gretsch, this model is an
oddity. Gray OHSC.
Gretsch 1967 Monkees model
in opaque Red. This model has two Super’Tron
pickups with unusual double-thumbprint fretboard inlay and
“Monkees” logo on pickguard, TRC cover and Monkees
headstock nameplate. Most of these were made in 1967;
few were made thereafter; nobody in the Monkees played one.
This guitar is similar in construction and features to the
Streamliner and Rally models, introduced in 1967. This
example is in very nice condition with some playing wear on
the back of the neck. Gray OHSC.
Gretsch 1947 Model X75F Pre-Sierra Sunburst acoustic
guitar; although billed as a flattop with a single bound triangular
sound-hole, the front and back of the body are molded like an
archtop. This model is finished in a dark, almost
charcoal, sunburst with a solid black back and a headstock
emblem that states “Gretsch 75.” It is in
great shape except for a slight center seam separation between
the bridge and the end of the guitar. Durable original
seal-skin SSC.
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Mosrite Guitars
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Mosrite Guitars
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Mosrite 1964 Ventures I
in Metallic Blue, with sand-cast original Vibramute Tailpiece
and “spun” knobs; neck adjustment at body
end; brown “alligator” OHSC.
Mosrite 1965 Ventures I
in Candy Apple Red, Moseley TP, “spun” knobs, neck
adjustment at body end; brown OHSC.
Mosrite 1965 Ventures I
in Lipstick Red, Moseley TP, “M” knobs, neck
adjustment at body end; brown OHSC.
Mosrite 1965 Ventures I in Red Metal Flake with Moseley TP, “M”
knobs, neck adjustment at body end; brown OHSC.
Mosrite 1965 Ventures I
in Black, white lettering on black headstock; Moseley TP,
“M” knobs, neck adjustment at headstock end; brown
OHSC.
Mosrite 1966 Ventures I
in Sunburst, white lettering on black headstock; Moseley TP,
“M” knobs, neck adjustment at headstock end;
horizontal finish checking throughout; some wear on sunburst
neck finish; brown high-quality reproduction OHSC.
Mosrite 1965 Ventures XII
12-string in Candy Green, Moseley TP, “M” knobs,
neck adjustment at body end; brown high-quality
reproduction OHSC.
Mosrite 1965 Ventures II
in White; early version of Mark V; horizontal finish checking
throughout; Moseley TP, “M” knobs, neck adjustment
at body end; gray OHSC.
Mosrite 1966 Ventures Mark V
in Pacific Blue; horizontal finish checking throughout;
Moseley TP, “M” knobs, neck adjustment at
headstock end; gray OHSC.
Mosrite 1967 Joe Maphis 12-string
in Natural with tortoise pickguard; “M” knobs,
fixed tailpiece; very fine condition with black OHSC.
Mosrite 1967 Joe Maphis Doubleneck
6/12 in Pearlescent White with tortoise guards; very fine
condition with mild finish checking; some extra strap buttons
as shown; brown “alligator” OHSC.
Mosrite 1968 Bass, Metallic Blue, two pickups with bridge cover intact; shows
some playing wear; black HSC.
Mosrite Ventures Guitars with Mosrite Amplifier
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Gibson Guitars
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Solidbody Guitars
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Gibson 1956 Les Paul Junior
in Sunburst. This guitar is “beat but
sweet,” show playing wear but no cracks or breaks and is
structurally sound. This guitar plays and sounds
fantastic with its single P-90 pickup and original
“wrap” bridge/tailpiece. Comes with a newer
‘70s Gibson HSC and its original “gator”
SSC, still intact.
Gibson 1955 Les Paul Special
in Blonde. This guitar has a great blonde finish and
shows some playing wear; great sound with two P-90 pickups and
original wrap bridge/tailpiece. Newer brown Custom Shop
HSC with pink lining.
Gibson 1962 Melody Maker
in Sunburst. This was the entry-level Gibson for those
of us who were teens in the 1960s; one single-coil pickup with
wrap bridge/TP; double cutaway. Very nice shape with no
issues; front has fine finish-checking throughout; nicely
figured rosewood board. Note the extremely narrow
headstock. Comes with a new black HSC and its
original brown “gator” SSC in passable
condition.
Gibson 1961 Les Paul SG Junior. Cherry finish somewhat faded in front; new SG-style
“double cutaway”; shows some playing wear on sides
of neck; screen logo partially worn off headstock; one P-90
pickup. Newer brown Custom Shop HSC with pink lining.
Gibson 1962 SG Special. This guitar was purchased from a collector and it
looks like it was made yesterday. Except for very slight
wear on top of headstock and some light pick marks on the
guard, this example is in mint condition: bright, rich
Cherry finish with everything spotless; two P-90
pickups. Mint black OHSC with gold lining. One of the
first SG examples made without the "Les Paul" logo
on the headstock; Gibson discontinued its endorsement
relationship with Les Paul in 1962. A time capsule.
Gibson 1962 Les Paul SG Standard. The Cherry finish on this guitar is in excellent
condition; comes with two humbuckers and low action; the
nickel hardware is a bit tarnished from normal playing wear. A
terrific sounding guitar that is structurally solid -- no
cracks, breaks or excuses. Standard long
“sideways” vibrola with folding arm, typical of
high-end Gibsons of this era; comes with original hang tag and
some original factory papers. Note the "Les
Paul" truss rod cover, soon to disappear from this
model. Black OHSC in excellent shape with gold lining.
Gibson 1961 Les Paul SG Standard. An early production model with slight playing
wear; note the neck/body joint with slightly different
construction than the 1962 model. Black OHSC in
excellent shape with gold lining.
Gibson 1963 Les Paul SG Standard. This the vibrola was removed from this guitar and a
stop-tailpiece added for playability – this guitar has
been played. Neck heel repair. All original otherwise
Black OHSC in excellent shape with gold lining.
Gibson 1963 SG Junior
in White. Lots of finish-checking and honest playing
wear on this all-original guitar; no cracks or breaks; one
P-90 pickup provides the sound. Black HSC.
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Semi-Hollowbody Guitars
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Gibson 1966 ES-335 in
“Ice-Tea” Sunburst. Plays very nicely with
two humbuckers and trapeze tailpiece and tune-o-matic bridge
with nylon saddles; block inlays; tuners changed to
Grovers. Black HSC with gold lining. The 335, 345
and 355 models are termed “semi-hollow” because a
hardwood center block is added to the interior of the body,
under the pickups and bridge, to increase sustain (and
weight), as opposed to, for example, the 330 model, which is a
“true” hollowbody and is noticeably lighter with
the same scale length.
Gibson 1966 ES-335
in Cherry. This example has factory Kluson tuners with
plastic “tulip” buttons, block fretboard inlays
and humbucking pickups and a Bigsby vibrola. Some
finish checking. Black OHSC with gold lining.
Gibson 1965 ES-345
in Ice-Tea Sunburst. Very clean; gold hardware slightly
tarnished by playing wear; functioning Varitone switch; two
humbuckers and trapeze tailpiece; block inlays; original
tuners. Black OHSC with gold lining.
Gibson 1967 ES-345
in Cherry. Nice clean cherry finish; gold hardware
slightly tarnished by playing wear; functioning Varitone
switch; two humbuckers and trapeze tailpiece; block inlays;
tuners are period-correct gold Kluson repros. Black OHSC
with gold lining.
Gibson 1967 ES-355
in Cherry. Very clean guitar; gold hardware (including
Bigsby vibrola) slightly tarnished by playing wear; five-ply
bound tortoise guard and matching armrest added;
original Varitone switch functional; two humbucking
pickups. Newer brown Custom Shop HSC with pink lining.
Gibson 1967 ES-335-12 in Cherry. Gibson joined the electric 12-string craze
of the mid-1960s by equipping the ES-335 model with a
12-string neck, sporting a headstock similar to the one used
on its D-12-45 acoustic model. Due to the solid maple center
block in the semi-hollow body, this guitar doesn’t have
the acoustic resonance of a Rickenbacker 12-string, but
amplified it does the job. OHSC.
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Hollowbody Guitars
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Gibson 1958 ES-225T
in dark Sunburst. Original combo trapeze tailpiece with
“wrap-around” bridge; single P-90 pickup in middle
position; very clean with no issues; newer black HSC.
This model was considered one of the first of Gibson’s
“thinline” series, hence the"T" in the
model designation. Steve Cropper’s first guitar
was an ES-225T (it's on display at the R 'n' R Hall of Fame).
Gibson 1957 ES-225T
in Blonde. Striking example of this model in beautiful
blonde or natural finish with naturally ambered binding.
All original with brown OHSC.
Gibson 1961 ES-125TC in Cherry Sunburst. This guitar has a single P-90
pickup in the neck position, a tortoise guard and its original
“moveable” archtop bridge; Bigsby vibrola.
Black OSSC.
Gibson 1967 ES-125TDC
in Cherry Sunburst. This guitar has two P-90 pickups in
the neck and bridge positions, a tortoise guard and a fixed
bridge with trapeze tailpiece. Black OSSC.
Gibson 1962 ES-330 in Vintage Sunburst. A true hollowbody, this
guitar has two P-90 “dog ear” nickel pickup covers
and a Bigsby tailpiece. Black HSC. The mid’60s
Epiphone Casino (also made by Gibson) is
structurally similar to this guitar and was a
favorite among the Beatles while touring.
Gibson 1966 ES-330 in
Cherry. This guitar has two P-90 “dog ear”
pickups (one chrome and one nickel) and trapeze
tailpiece. Transitional example with no issues; black
HSC with gold lining.
Gibson 1967 Barney Kessel Custom
in Cherry Sunburst. This guitar has a number of distinguishing
features: the highly flamed maple sides, the unique
“melody note” headstock inlay which appeared on
only a few Barney Kessel Custom examples, the unique
“bow tie” fretboard markers and the original
“waffle back” Grover tuners. Finally, there is the
original gold-plated Bigsby vibrato which lends extra playing
flexibility to this guitar. A true “jazz box”
guitar which was and remains a tribute to the innovative and
diverse guitar styling of Mr. Kessel. Excellent condition with
HSC.
Gibson 1970 ES-175 in Ice
Tea Sunburst with darker sides and back. One of Gibson's
most popular thick-bodied archtop electric guitars, this
example of the ES-175 is a transitional model with no
volute (standard starting in 1970) but “Made in
USA” stamped on headstock back (also a 1970 addition);
two humbuckers with the new-for-1970-style
"hash-mark" tailpiece, which is actually a throwback
to the design of TPs used on other archtop models in the '40s
and '50s. Black OHSC with gold lining.
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Bass Guitars
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Gibson 1966 EB-3
in Cherry finish. This two-pickup solidbody bass is in
very good shape with great action and a rotary pickup
selection switch; also comes with working
“slideable” mute. Newer Gibson ‘70s
HSC.
Gibson 1967 EB-2
in Cherry finish. The finish on this one-pickup
hollowbody bass is in excellent shape and the bass
is very solid structurally. Newer black HSC.
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Epiphone Guitars
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Epiphone by Gibson 1963
Professional Model with dedicated amplifier. Gibson, which
acquired Epiphone in 1957, designed this guitar equipped with
the controls normally found on an amplifier. Known
as the Professional, this guitar was essentially a thinline
hollowbody with f-holes, one mini-humbucker pickup in the neck
position – and a variety knobs and switches mounted on the
pickguard. The companion amplifier had only a volume
control and an output cord, permanently wired to the amp, with a
multi-pin connector that plugged into the Professional, which
was also wired with a standard output jack. Due to its
configuration, the amplifier could not be used with any other
guitar. This is a rare model, with approximately 400 made.
OHSC
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Guitars - Other
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National
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National 1963 Val-Pro 84 Map Guitar
in Arctic White. Res-o-glas body construction with vinyl
strip around body edge; wooden neck with white headstock
sporting “National” logo; one pickup in neck
position with second piezo pickup under bridge; quarter-circle
fretboard inlays; “National ValPro” pickguard;
3-on-a-side special Grover tuners with oversized triangular
buttons; excellent condition with hard-to-find gray form-fit
OHSC. Shown side-by-side with bass version, next
item.
National 1963 Val-Pro 85 Map Bass
in Ermine White. Appointments generally match those of
Map Guitar; one pickup in neck position with second piezo
pickup under bridge; no pickguard and one finger -rest on
each side. Black Gibson HSC with white plush lining
which perfectly fits this bass. Quite a pair!
National 1963 Newport 84 Map Guitar
in Sea Foam Green. One pickup in neck position with
second piezo pickup under bridge; quarter-circle fretboard
inlays; “National ValPro” pickguard; original
vibrato unit; very nice condition. Black wooden
OHSC.
National 1962 Studio 66 Guitar
in Beige. Unique art-deco designed body with one pickup
in bridge position; dot fretboard markers; black headstock
with “National” logo. Black
HSC.
Airline by National/Supro 1965 “Jetsons”
Guitar
in Red with white trim. Angular shaped guitar has two
“regular” pickups and res-o-glas body construction
with wooden neck; block fretboard markers; white
headstock with “Airline” logo. Black wooden
OHSC with white ends.
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Kay
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Kay 1958 Barney Kessel Artist
in Sunburst. Top of the line Kay full-bodied archtop
with “Kelvinator” headstock; original Grover
tuners and ID plate on back of headstock intact; two
tissue-box pickups and two bound full F-holes; Melita bridge;
fixed “lattice” tailpiece; checkered binding and
block fretboard markers; “Barney Kessel”
pickguard; in excellent original condition. Brown OHSC.
Kay 1964 Swingmaster III in Sunburst. Thinline archtop; three tissue-box pickups
and one bound full F-hole; body-mounted metal bridge with six
individual rollers; fixed harp tailpiece; triangular
metal badge headstock logo with “K”; checkered
binding and block fretboard markers. Black HSC.
Kay 1962 Swingmaster II
in Sunburst. Thinline archtop, two tissue-box pickups
and two bound full F-holes; wooden bridge; plain headstock
“K” logo; checkered binding, block fretboard
markers. Black HSC.
Kay 1964 Galaxie in
Sunburst. Thinline, one tissue-box pickup in neck
position; smaller F-hole; wooden bridge; triangular metal
badge headstock logo with “K”; “guitar
pick” fretboard inlays. Brown and white OSSC.
Kay 1959 Sizzler in “Asphalt” finish. Cool
deco solidbody guitar made of “Plextone” with one
pickup in neck position, Kay logo on headstock, large angular
cream guard; maple fretboard with black dot markers; wooden
bridge and simple tailpiece. Brown ‘gator OSSC.
Kay 1960 Style Leader
in Blonde finish. Bound semihollow body guitar made of
laminated curly maple with three pickups and two textured
brushed copper guards, one per side (some tarnishing); bound
rosewood board with black dots; plastic “Kay”
headstock logo; 3-on-a-side Klusons with black plastic
buttons. Black OSSC.
Airline by Kay 1959
in Sunburst. Like Swingmaster, except Bigsby bridge and
vibrola, no F-holes and 3-ply body binding. Flamed maple body;
three tissue-box pickups; block fretboard markers; master
volume knob; original pickguard with “A” emblem;
"Airline" on headstock; open-back tuners.
Black and white OSSC.
Airline by Kay 1961 in
Blonde, deluxe model. Early “Speed Demon”
styling with double cutaway semihollow body with two smaller
F-holes; highly flamed maple front and back; two tissue-box
pickups; special deco “V” Bigsby-style vibrola
with gold inset; wooden bridge; 4-ply body binding;
“guitar pick” fretboard inlays. Black HSC.
Airline by Kay 1962
in Blonde, deluxe model. Early “Speed Demon”
styling with double cutaway semihollow body with one smaller
F-hole; highly flamed maple front and back; three tissue-box
pickups; wooden bridge and trapeze tailpiece; 4-ply body
binding; “guitar pick” fretboard
inlays. Black HSC.
Silvertone by Kay 1956
in Cherry Sunburst. Thick-bodied 17 inch-wide archtop
resembles early Kay “Upbeat” model.
Cream plastic Silvertone headstock veneer with shield,
original cream guard with “S”; two adjustable
pickups; single-ply body binding, block fretboard markers;
Bigsby vibrola. This guitar is in excellent original
condition. Black HSC.
Silvertone by Kay 1956 “Thin Twin” Jimmy Reed
model
in Cherry Sunburst. Thick-bodied double-bound semihollow
body with cream plastic “Silvertone” headstock
veneer and pickguard with shield; flamed curly maple body with
mahogany sides; two lipstick-style (“thin”)
pickups; block fretboard markers; removable
"TS" decal on pickguard; wooden bridge and trapeze
tailpiece. Black HSC.
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Harmony
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Harmony Rocket 1965 in
Red (model H56). Single-cutaway hollowbody guitar with
two DeArmond “moustache” pickups, wooden bridge,
two F-holes and vibrato; dot fretboard markers.
Black OSSC.
Harmony Silhouette 1966
in Redburst (model H19). Deluxe solidbody guitar
(bearing a striking resemblance to a Fender Jaguar) with
Hagstrom vibrato and bridge, two DeArmond
“moustache” pickups; Fender-style headstock; block
fretboard markers; in excellent original condition.
Black and white OSSC.
Harmony Bass 1966 Solidbody
in Redburst (model H25); companion in appearance to
Silhouette, as shown in side-by-side photo. One DeArmond
pickup; flip-up string mute; Fender-style headstock; block
fretboard markers; two push-button tone controls. In near mint
condition. Black and white OSSC.
Harmony Bass 1965 in
Sunburst (model H22). Hollowbody bass with one DeArmond
pickup in neck position, “batwing” white
pickguard; 2-on-a-side plain Kluson tuning machines
(guitar-sized); dot fretboard markers; rectangular
peghead. Black OSSC.
Harmony Stratotone Mercury 1962
in Redburst (model H47). Doublebound hollowbody with one
DeArmond pickup in neck position; wooden bridge; block
fretboard markers; large white guard;
“atomic” logo on headstock. Black and white
OSSC.
Silvertone by Harmony Stratotone Jupiter 1960
in Black speckled with gold (like model H49).
Doublebound hollowbody with two DeArmond pickups; wooden
bridge; block fretboard markers. Very cool
“S” shaped white guard on side with tone/volume
and blend controls and 3-way switch labeled in tiny letters on
guard. Black and white OSSC.
Airline by Harmony Roy Smeck Stratotone 1963
in Sunburst. Doublebound hollowbody distinguished by
multi-pointed cream colored “star” pickguard
surrounding the three DeArmond pickups; wooden bridge;
block fretboard markers. Six tone/volume controls mounted
directly on guitar body with 3-way selector switch.
Black and white OSSC.
Harmony Bobkat guitars (2)
in Sunburst and Redburst (1965). Solidbody guitars with two
DeArmond pickups; Fender-style headstock; dot fretboard
markers and vibrato on Redburst. Also shown is side-by-side
comparison of Sunburst Bobkat with same model made for
Silvertone, below. Black and white OSSCs.
Harmony Bobkat guitars (2)
in Blue and Red (1967). Solidbody guitars with two DeArmond
pickups; Fender-style headstock; dot fretboard markers and
vibratos. Black and white OSSCs.
Silvertone by Harmony Bobkat 1966
in Sunburst with original Sears packaging! Solidbody guitar
with two DeArmond pickups; Fender-style headstock; dot
fretboard markers and vibrato. Comes in original Sears
cardboard box with shipping label and price tag! Time
capsule, mint condition.
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Danelectro
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Silvertone by Danelectro U2 1956 Tan and Ginger “Peanut” body guitar, one
lipstick-style pickup model (Silvertone 1359). Simulated
leather (vinyl) finish, shows playing wear on back of neck;
“Coke bottle” headstock shape; metal nut.
Brown ‘gator OSSC in good condition.
Silvertone by Danelectro U1 1959
Brown “Peanut” body guitar, one lipstick-style
pickup; short-scale model (Silvertone 1452). Simulated
leather (vinyl) finish, shows playing wear on back of neck;
“Coke bottle” headstock shape; beautifully figured
Brazilian rosewood fretboard; metal nut. Gray OSSC in
good condition.
Silvertone by Danelectro 1963 Dolphin Bass. So-called due to the shape of its headstock, this unusually
clean example is seldom seen for a Danelectro of this
era. The white body binding is in perfect shape.
Formerly owned by Kurt Linhof. All original with
rare red-lined black OHSC.
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Hagstrom
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— Special Models
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Hagstrom Corvette 1964
Cherry Sunburst with three pickups; full set of space-age
push-button controls (see photos, words cannot do them
justice); set-neck construction; “King’s
Neck” plastic truss rod cover; Van Ghent tuners; very
clean example with only a few minor dings around body edges;
they don’t (dare) make them like this any more. Comes
with blue/black alligator hide OHSC with red lining and case
pocket containing original amp cord, Selmer polish cloth, case
keys and adjustment tools. Have you ever seen another
like this?
Hagstrom Impala 1966
Brown Sunburst with two pickups; full set of space-age
push-button controls; set-neck construction;
“King’s Neck” plastic truss rod cover; Van
Ghent tuners; very clean example with a few dings and scrapes
around body edges. Unique precise form-fit gray OSSC (with
“tail”) in excellent condition.
Hagstrom Futurama 1963
in Black with two pickups and white molded plastic guard;
resembles early Hagstrom II guitar; this guitar was purchased
from a UK seller and has the rare “Futurama”
headstock decal (this model was marketed as
“Futurama” in UK and distributed there by Selmer,
“Kent” was the US version); Van Ghent tuners;
“King’s Neck” sticker on back hdstk;
light playing wear. Black SSC.
Hagstrom II 1963 in Red;
early “Kent” model with white molded plastic
guard; two pickups; “King’s Neck” sticker on
back hdstk; very nice condition; with unique blue-weave
tweed-like OHSC with light blue lining.
Hagstrom III 1964 in Blue;
“Kent” model with white molded plastic guard;
plastic “Hagstrom” logo on body; three pickups;
Van Ghent tuners; “King’s Neck”
sticker on back hdstk; very nice condition; with gray form-fit
OSSC.
Hagstrom I 1964
in Lavender; extremely rare color; silver “pool”
between pickups; Kent body style; plastic
“Hagstrom” logo on body; lucite body front screwed
onto wooden body with cream colored vinyl backing in good
shape; vinyl is worn in one spot in horn area; back of neck
and headstock are finished in black; “King’s
Neck” sticker on back hdstk; open back tuners with
plastic-buttons; two pickups. Black SSC.
Hagstrom II 12-string1966
in Black with two pickups and black pickguard; Van Ghent
tuners. Black molded plastic HSC.
Hagstrom Viking 1972 with highly charactered Bubinga body; original Grover
Imperial tuning machines; no flaws or dings; very nice
example; near mint condition. Black OHSC as
new.
Hagstrom I 1963 bass in
Black; very clean early model with plastic
“Hagstrom” logo on body; silver pool between two
pickups; lucite front screwed onto wooden body with
black vinyl backing in good shape and lacquered; back of neck
and headstock are finished in black; Van Ghent tuning
machines; “porpoise” Kent headstock shape with no
decal (correct for this model); original gray/blue form-fit
SSC with “tiger stripe” plush lining; excellent
plus condition.
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— Standard Models
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Hagstrom I 1965-66 guitars
(4) in Blue, Black, White and Red; silver or gold
“swimming pool” between pickups; lucite body front
screwed onto wooden body with vinyl backing matching color of
guitar front; back of neck and headstock are finished in
black; open back plastic-button tuners; two pickups; gig
bags.
Hagstrom II + III 1965-67 guitars
(3) in Blue, Red and Black with black pickguards; two or three
pickups as shown; Van Ghent tuners. OHSCs.
Hagstrom Viking 1967 guitar
in Red; some finish checking; Van Ghent tuners; shows some
moderate playing wear; excellent condition Brown HSC.
Hagstrom I 1966-67 basses
(2) in Red and White; gold pool between two pickups;
lucite front screwed onto wooden body with red vinyl backing
(on both); back of neck and headstock are finished in black;
Van Ghent tuning machines. Gray OSSCs.
Hagstrom II 1966-67 basses
(3) in Sunburst, White and Black; black guards; Van Ghent
tuning machines. Cases as shown.
Hagstrom Viking “Concord”
1967 hollowbody bass in Sunburst; one finish ding on back near
binding; very nice example; near-mint condition. Black OHSC as
new.
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Paul Reed Smith
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PRS Custom 24 1986
in Cherry Sunburst. This guitar is from the 2nd year of
production of PRS guitars, before the “10” top
rating system. The intense burled maple underneath the
flamed cherry burst is easily an “11” grade top,
with blue undertones difficult to capture in photos.
Near mint condition. Black OHSC.
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Vox
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Vox Mark XII in Sunburst. This solidbody 12-string guitar is crafted in the
distinctive “teardrop” shape with a zero
fret and metal nut, with three pickups, a very wide neck
and a vibrato arm (quite unusual for any 12-sring
guitar). It also has a snap-on backpad covering the
plastic control access plate. Made in Italy in 1965. All
original with grey OHSC.
Vox Starstream XII in Sunburst. This semi-hollow bodied guitar is also made in the
teardrop shape with a zero fret and metal nut, and has
two pickups and a number of unique features, including
separate built-in controls for distortion/fuzz, treble
boost, a variable “repeater” effect (like
tremolo on an amp) and a “wah wah,” which
functions with a slider switch and a compact triangular
hand-control vibrato unit to create the
“wah” effect. Comes with a backpad with
circular plastic control access plate underneath. Fancy
inlaid MOT headstock logo tops off this eccentric model,
made in Italy in 1967. A favorite of Mike Campbell, who
performs with this model, using all the features, and
has called it “a whole studio in your
guitar.” All original with grey OHSC.
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