The new company began its ascendency with the Combo 600 and Combo 800, a pair of solid-body guitars with a cutaway to the 19th fret on the treble side and 15th fret on the bass side. The guitars were identical except for the pickups—the 600 had a single pickup while the 800 had a double. The earliest 1954 Combos had a square head. Later that year, the head would be given its characteristic asymmetrical Rickenbacker shape. All models had the same handsome blond finish.

A second crop of new electric guitars was introduced in 1956. The Combo 400 was the first Rickenbacker to feature a neck with through-body construction, rather than just being screwed onto the body like a Fender. The 400’s so-called "Tulip" body had symmetrical cutaways and came in green, brown, or black. The Combo 400 from 1957 had an even deeper cutaway on the treble side of the neck. The 400 was replaced in 1958 by the 450, whose body evolved that year from a clone of the Tulip-style 400 to a new design with a so-called cresting-wave shape.

Although the Combo 450 in either body style is eminently collectible, it usually gets overshadowed by another vintage Rickenbacker guitar from 1958, the Capri. Offered in models from the 310 to the 345, this hollow-body electric guitar with a single cat’s-eye sound hole gained lasting fame when John Lennon of The Beatles purchased a natural-finish 325. Lennon refinished his 325 in black (the gold-backed Lucite pickguard remained unimproved) and played it until 1964. In the early 1960s, Rickenbacker produced three more 325s for Lennon, including a one-of-a-kind 12-string.

Paul McCartney and George Harrison also became Rickenbacker acolytes. In 1965, McCartney traded in his Hofner for a left-handed Fireglo, dual-pickup 4001S. Harrison put down his Gretsch Duo-Jet every so often to play his Rickenbacker Combo 425, as well as a 360 12-string, which gave songs like "A Hard Day’s Night" their instantly identifiable ringing Beatles sound.

One musician who liked that sound a lot was Roger McGuinn of The Byrds. Reportedly, he bought a 360-12 after seeing the movie version of the famous Beatles song. Before long, Pete Townsend of The Who, Brian Jones of the Rolling Stones, John Fogarty of Creedence Clearwater Revival, John Kay of Steppenwolf, and Paul Kantner of the Jefferson Airplane were all playing Rickenbackers.

For collectors, it is important to note that in the 1960s, Rickenbacker exported a number of its models to a British company called Rose, Morris & Co., Ltd. Serial numbers on these exports have an "S" at their ends, and the tops of some of the guitar bodies have f-holes instead of the cat’s eye. The Rose guitars were also given different model names. For example, Lennon’s 325 was sold in England as the 1996, McCartney’s 4001 was the 1999, and Harrison’s 360-12 was the 1993.

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Prewar 1935 Bakelite Rickenbacher Rickenbacker Hawaiian Lap Steel
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Rickenbacker Electro Lap Steel Black Rickenbacher
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1948 Rickenbacher Rickenbacker lap steel w orig case very good condition
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Rickenbacher Rickenbacker Lap Steel Model S Great
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VINTAGE 1943 RICKENBACHER MODEL B ELECTRO LAP STEEL GUITAR AND CASE NO RESERVE
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The auction will be held at Christie’s, a reputable auction house based in Washington, DC, and is expected to reel in about $1 million in earnings. Some special pieces, such as the 1958 solid-body Gibson Flying V electric guitar previously owned by Albert King, are expected to attract bids as high as $90,000.

“They have been my true friends through the best and worst of times. I never planned to put together a collection. I just bought ones that I liked, the ones that sounded good and played well,” Richard was quoted saying in a statement.
Gere says he's parting with the instruments to support humanitarian causes around the world

In 1961 Fender started using a more robust red dye for their three color sunburst. Also the dark brown part of the sunburst around the edge of the body is slightly more black. Hence the sunburst finish on a 1961 Fender Strat is much bolder looking. Fender also felt the need to add patent numbers to the peghead during 1961. Still has the "slab" rosewood fingerboard, but the back neck shape is larger (and more comfortable in my opinion).

Serial number range for the 61 Fender Stratocaster are generally 55000 to 72000 (on the neck plate). If you need to figure out the exact year of your pre-CBS Fender Stratocaster, use the serial number and the general features of the guitar. The serial number is located on the back metal neck plate. See the Fender Serial Number Info web page for help determining the year.

1961 Fender Stratocaster guitar specs:
• Peghead decal logo now has 2 patent numbers (2,573,254 & 2,741,146)
• Neck backshape is a fatter "D" shape, but still not nearly as fat as 1958 and prior Stratocaster necks.
• Fender now using a more robust red in their sunburst finish. Hence 1961 and later Strats don't have sunburst finished with a faded out red.
• The dark "Amber brown" part of the sunburst finish is now changed to "black". Hence the dark part of the sunburst is more striking and does not blend as well as prior sunburst finishes. It is a subtle change.
• White "chicklet" paper tone capacitor changes to a red round disc capacitor with yellow insulting tubing on one leg of the cap.

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1961 ORIG STRAT VINTAGE FENDER STRATOCASTER
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What I take from these interviews is that there is still a promising financial future in investing in vintage guitars. As has always been the case, some guitars will appreciate in value more than others. Now might be a good time to buy while prices are down if you are willing to hold onto the guitar for a while.

While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn't yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible. There's nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection - acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

People are starting to realize how much these instruments from the 50's 60's, and 70's really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

Gibson SG Standard

Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender's Strat. But the things that made up its very heart and soul - especially its humbucking pickups - remained. Today, the early-'60s version is a true classic.

Gibson Les Paul Model (Goldtop)

Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut experiment guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson's test bed through the '50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.

Gibson J-45

Inducted in 2007
Martin's "dreadnought" flat-tops were big and dominated the guitar market of the 1930s. By the early '40s, Gibson knew it needed a big flat-top to compete, and he J-45 ("J" for Jumbo, "45" indicating its price in dollars) was it. A 16" round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of - if not the - most popular Gibson guitars.

Fender Jaguar

Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!

Gibson ES-5

Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company's position as the world's preeminent electric archtop maker. Today, its late-'50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

National Tri-Cone series

Inducted in 2005
Its warm, sustaining tone emanates from three aluminum "resonators" designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.

PRS Custom

Inducted in 2004
The first production instrument from a company that has become the guitar's preeminent modern success story.

Gretsch White Falcon

Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.

The 1954-'56 Gibson Les Paul Custom

Inducted in 2003
Can you say "Black Beauty?" Though Gibson didn't give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its famed Alnico-magnet pickup.

Fender Jazzmaster

Inducted in 2002
Designed and marketed by Leo to cut into Gibson's jazz market, it supplanted the Strat at the top of Fender's line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

Gibson SJ-200

Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150

Inducted in 1999
Gibson's first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson's first pickup, which is still in high demand and considered a classic.

Martin D-45

Inducted in 1998
Originally the fanciest of Martin's innovative dreadnought line. If you had one of the 96 made in the 1930s and early '40s, your net worth would be considerably higher than it is now.

Rickenbacker 360/12

Inducted in 1997
It was good enough for George Harrison and gave us the "jingle jangle" of Roger McGuinn. That's more than enough for the 360/12 to be the only 12-string in the VG HoF.

Gibson Flying V

Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn't a hit when it came out in 1958. Rock and rollers discovered it the late '60s and the V still makes a unique statement today.

Gretsch 6120

Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in '54, the 6120 soon shed the "G" brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

Fender Jazz Bass

Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally diverse, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.

Gibson L-5

Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.

D'Angelico New Yorker

Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, "The New Yorker is significant due to its superb quality and aesthetic artistic appeal," and is "one of the finest guitars in the history of the instrument."

Gibson Super 400

Inducted in 1993
Introduced in 1934, with its 18" body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.

Fender Precision Bass

Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.

Gibson ES-335

Inducted in 1992
Born during Gibson's "golden era," the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28

Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin's line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin's most popular models.

Fender Telecaster

Inducted in 1991
Leo Fender's timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.

Fender Stratocaster

Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

Gibson Les Paul Standard ('Burst)

Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the '58 to'60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

If I asked you to guess an investment that can give you 500% appreciation of six months, what would it be?
I'll bet that guitars wouldn't be your first response.

In the forty years since Jimi Hendrix played his white Fender Stratocaster before a 500,000 people at Woodstock, guitars are now firmly established as collectible items.

Such legendary events have led thousands of enthusiasts to seek out vintage Fender Stratocasters from the 1970s.
A late '60s Strat', then worth a couple of hundred dollars, can today sell for as much as $30,000.
Other items, like a '60s Gibson Les Paul Jr., can appreciate by an incredible 500% after six months of ownership.

And the best news is, with the guitar market down alongside stock prices, there are plenty of opportunities for new investors.

"Now, the baby boomers that bought the guitars are selling them back," Harvey Moltz of Rainbow Guitars, an Arizona-based vintage and modern instrument dealership, told Forbes.

Guitar prices are dropping by as much as 40% - so dealers are stoking up their storage rooms with vintage guitars for the first time in 30 years.

There is one particular factor that can guarantee a guitar's appreciation...

Aside from being in mint condition (with original parts, electronics and paint), the guitars must be tied to an artist or event that resonates in the modern popular conscience.

For instance, 1980s ESP guitars were played by, and are associated with, Metallica.

While such guitars hold value now - particularly with today's wealthy who loved metal in their youth - the value of shred-friendly guitars is likely to fade as the collectors themselves age.

But Woodstock and other classic-rock-associated guitars are likely to increase in value yet again - partly due to music releases and merchandising from labels like Warner Bros to coincide with Woodstock's 40th anniversary.

But, even if prices are more affordable - with a '56 Gibson P-90 Les Paul Gold Top dropping from $80,000 in 2007 to as little as $35,000 - you should still be cautious with your cash.

The year of a guitar's manufacturing date can affect the value dramatically.
For instance, electric guitar production increased dramatically after the Beatles' 1965 North American tour. Guitars from this era are less rare, and therefore less valuable.

A scarce guitar is the black mid-'60s Gibson ES-345 played by Jefferson Airplane's Jorma Kaukonen at Woodstock. The model is a much rarer find due to its colour.

Many guitars can increase in value over time, but few instruments will exhibit the long-term value or prestige of Woodstock instruments, despite their current (relatively) low prices.

Here are some guitars to look out for....
Carlos Santana
Guitar: Pre-1965 Gibson SG Special with P-90 Pickups
What You Should Pay: $5,000-6,000
These guitars were the favoured choice of Santana and Pete Townshend even after Gibson phased it out in the '60s.

Stephen Stills
Guitar: Late-'50s Gretsch White Falcon
What You Should Pay: $30,000
This guitar has not been hit hard by the recession, and has the potential for future growth in value due to its connection to several star performers.

But avoid post-1967 models. Baldwin manufacturing bought the company from Fred Gretsch, and made poorer-quality guitars.
Jimi Hendrix
Guitar: 1968 Olympic White Fender Stratocaster w/all-maple neck and cap
What You Should Pay: $25,000-30,000

Don't buy just any '60s Strat, as not all have Hendrix's rare, all-maple neck, fingerboard and Olympic White paint. Non-Jimi models depreciate more due to generalisation of value.

To buy the Jimi Strat, you'll have to pay big, but your investment will be safe. The link between the instrument and Jimi is enough to keep this guitar - made after 1965 - appreciating in value.

It was the first Fender artist-related Stratocaster, or perhaps "artist inspired" would be more accurate since no connection to Hendrix by name or image appears anywhere on the guitar (the authorized and licensed Artist Series instruments didn't begin until the Clapton Signature model appeared in 1988).

Secondly, the instrument's design features mark a follow-up of the 1979 Anniversary Strat's departure from the CBS norm - a return to the pre-CBS four bolt neck attachment and corresonponding neck plate, and the abandonment of the "Bullet" headstock truss rod adjustment.

The departure from the then-current CBS design makes sense since the 1980 Hendrix Stratocaster was essentially modeled upon the 1968 Strat Hendrix played at Woodstock in 1969 (as were all of the tribute instruments discussed in this article except for the 1997 Fender Custom Shop Monterey Strat).

Modeled after a 1968 Strat but with a significant twist.

Unlike any 1968 production line Stratocaster, the 1980 Hendrix Strat joined a right-handed body with a left-handed neck. This configuration would appear again in the 1991 Custom Shop '67 Reissue Stratocaster.
Why put a left-handed neck on a right-handed body?

Two reasons.
1. Cosmetically, the upside-down-looking headstock is similar in appearance to Hendrix playing a right-handed guitar flipped upside down and played from the opposite side of the body.
2. Reversing how the left-handed neck is strung (the low E, for example, being where the high E would be on a left-handed neck strung normally), reverses the usual length of the strings and results in a somewhat different "feel" and, arguably, creates a difference in tone. The differences are the result of a change in tension of the strings (apart from the G and D string which, being in the middle, aren't really affected). For example, the low E, when strung in reverse, is now the longest string and subject to greater tension due to the increase in length. Conversely, the high E is now the shortest and its tension is less.

Was the 1980 Hendrix Stratocaster actually produced?
There is an element of mystery surrounding this issue. Author Tony Bacon, on pages 94-95 of "The Fender Book", indicates that the guitar went into production and twenty-five were made. Others believe that it never evolved past the prototype stage (see "Story of prototype #1, below). When recently contacted regarding this issue, Fender-FMIC stated that in light of the events having taken place prior to 1985, it would be unable to supply a definitive answer.

According to John Page, former Fender Custom Shop manager, who was with Fender during 1979 and 1980, the "Hendrix Stratocaster" came about at the insistence of Mudge Miller, who was a Fender marketing representative at the time. Page recalls that while the instrument never really went into production, Miller got Fender to produce 25 units for a group of Fender dealers in Texas as a "special run". Page also believes that these 25 guitars may have had a circled letter "M" (for Mudge) on the headstock. This mark does not appear on three of the four prototypes believed to exist (it is unknown whether or not it appears on the fourth, the prototype possibly owned by a collector in Japan).

Specifications
Color: Olympic White
Body: Alder, with Special Additional Front Contour
Neck: Maple; Large Reverse Headstock; Four Bolt Attachment and Neckplate
Fingerboard: Maple
Truss Rod Adjustment: At Body
No. of Frets: 21
Tremolo: Six-pivot Bridge/Tremolo
Pickups: Three
Pickup Switching: 5-Way
Pickguard: 11-Screw White Laminated Plastic
Last MSR Price: $1,500*

*Blue Book Publications, Inc.'s "Blue Book of Electric Guitars, 8th Edition"
Another source that indicates 25 or so of the 1980 Hendrix Stratocasters were produced.

1) If possible, play your own guitar through it. You want to be in familiar territory to judge an amp objectively, and it’s difficult to assess an amp’s suitability if you’re testing it with an unfamiliar instrument. Work from your comfort zone, and you’ll better know whether this one could be of use to you, or is just way out of the sonic ballpark.

2) Start with an external visual check:
• Is the amp reasonably clean, or does it appear to have been neglected? If the latter, does it look like it will clean up okay, or is this deep-down grunge?
• Do the tubes look old (is the lettering faded and discolored from excessive heat?), or do they appear to be fairly fresh, even if they are NOS (new old stock) types? It’s cool to find an old amp with its original tubes, or very old replacements, if they are still in decent playable condition. An amp that carries old, burnt-out (or nearly so) tubes, however, just indicates gear that has been neglected.
• Are the tubes reasonably tight in their sockets?
• Does the speaker look sound, tightly mounted, and in good condition, even if it’s an old one? Or is it dusty, discolored, have a brittle cone, or loose mounting bolts/screws/nuts?
• Are the cabinet’s edges and corners tight and solid?
Your assessment of all of the above will give you a general idea of the amp’s condition before you have even plugged it in. An amp that is old and a little dusty and grimy, but basically in decent condition underneath, is possibly one that was cared for well, but just stored for years and left untouched. An amp that was cared for poorly or not serviced at all, or serviced poorly, while in use for many years is a riskier proposition.

3) Has the seller installed a safe grounded, three-prong AC cord? If not, don’t touch any other electrical equipment while testing, and ask them if they will have one correctly installed (if it’s a guitar store) before selling the amp, or make a concession on the price so that you can do so. If you buy it as-is, have a three-prong cord properly and professionally installed asap. This is a safety issue, and it won’t be safe to gig or record with the amp until you have done so.

4) Turn the amp’s volume control(s) down to 0, switch the power on and let it warm up. Does the pilot light work? Are the tubes glowing as normal? Switch the standby on if it has one, and/or turn up the volume control(s) slightly. You should hear a slight — but not excessive — hum through the speaker. If there are any loud hums, squeals or oscillations in the amp at any stage in this process, switch off immediately and unplug from the AC socket.

5) If all is well, plug in and play. Start at lower volumes, try all the other control knobs for function and scratchiness. If you get a little “static” style scratchy sound when you turn any of the potentiometers but they still function much as they should, this isn’t a big deal. A tech can clean these with a squirt of contact cleaner for a minimum bench charge. If you get any major volume jumps or dead spots, that might mean the pot needs replacing. Still not too big a deal if the price is right and it’s an amp you are really interested in, but it means more of a repair investment.

6) Turn up, and play louder. If the seller insists that you test it at quiet volumes only, explain that you need to at least play it briefly at or near full volume, or the deal is off. You don’t have to crank it for hours, and it’s unreasonable to expect others to tolerate that, but play it at a fairly advanced volume for 30 seconds or a minute or so at least, and listen to how the whole amp, and the speaker in particular, reacts to the wattage you’re putting through it.

7) If you get “ringing” or “pinging” sounds or microphonics at medium or higher volumes, this could be the sign of a bad tube (as well as a number of other things that are more difficult to suspect). You can sometimes check this by gently tapping each tube in succession with a pen or pencil — with the volume at around 10 o’clock — while listening for the one that reacts excessively (note that you will get a little sound out of any good tube by doing this), ask the seller if they have a replacement tube you can try in that position. Switch off the amp, let it cool down for a few minutes, and make the swap, using a dust cloth or other protection to remove the suspect tube if it’s still hot. If the tubes are old and worn anyway, you’ll need to figure a replacement set into the purchase price (details of which below).

If the amp sounds intermittently fine, but emits odd rasping or scratching or vibrating sounds from time to time, it might have a faulty speaker. If you suspect the speaker at all, ask the seller if you can patch the amplifier’s output — if at all possible — into another cabinet of a similar impedance rating with a speaker that is known to be good, to test further. If all is well in the new cab, you have a speaker issue to consider, and need to figure a replacement into the purchase price (details of which below).

9) All well and good? You like the tone? You might have a groovy new amp, if the price is right. Even so, it’s still a very good idea to have a professional amp tech check and service any “new” used amp you acquire, especially if it’s old and looks at all worn or neglected.

10) All not so good, but you think you’d like to have it if it can be made right? If the seller doesn’t have the facilities to fix any problems for you, here’s a list of approximately replacement costs for major components that are likely to need attention.
• A full new set of tubes for a small to medium amp (two or three preamp tubes, two output tubes, rectifier tube) will cost a minimum of $80 for decent, tested tubes.
• One new 12-inch speaker will cost around $40-$50 for a fairly generic replacement of passable quality, $60-$80 for a mid-quality speaker with more character, and $100-$250 for a top-notch, high-end replacement.
• Potentiometers and worn or faulty tube sockets will cost $5-$8 per item, plus the cost of labor to replace them.
• Filter capacitors (a common weak point in older amps) will cost $4-$10 per item (multiples of this, for “multi-cap” can types), depending upon size and quality, plus the cost of labor to replace them.
• Cosmetic issues such as vinyl (Tolex, tweed) and grille cloth … well, that’s up to you, and depends on how much of a “lived in” look you can live with.

11) Extra attention: If it’s a vintage amp, and one with any value in particular, and you feel you like the tone and performance enough that you’re ready to make the purchase, it’s a good idea to “look under the hood” to see how much the original circuit has been messed with. Don’t do this all on your own, especially if you have no experience working safely with tube amps. If the seller is experienced with amps, or has an in-house tech, ask them to — having unplugged the amp and let it cool — remove the chassis from the cab so you can see the components on the board, the wiring and the undersides of the transformers. DON’T TOUCH ANYTHING! Tube amps can carry dangerous voltages even after they have been switched off and unplugged. Just make a visual assessment, to the best of your ability, of how much the amp appears to be original, and how much has been changed or modified (often an honest dealer or amp tech will walk you through this and help with such an assessment). If you’re not in a position to make this judgment, or can’t safely have the chassis removed, ask to let a qualified amp tech explore this for you before you make the purchase, especially if the amp is of any elevated vintage or collector’s value.

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Peavey Classic 20 Vintage Type Tweed Tube Guitar Amplifier Amp
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Supro Thunder Bolt Model S6420 Amplifier Valco USA Vintage All Tube EC NR
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VINTAGE 1969 AMPEG B25 ELECTRIC BASS GUITAR AMPLIFIER AMP HEAD LINDEN NJ RESTORE
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Fender Deluxe Vintage Amplifier Model AB763 Good Condition Sounds Great
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VINTAGE 1972 Ampeg VT 40 4x10 Electric Guitar Amplifier
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At what age does a used Stratocaster become a vintage Stratocaster? The answer is a matter of opinion with various sellers advocating milestones such as 20, 25 and 30 years. Most would probably agree that a guitar younger than 20 hasn't yet earned the title of vintage. In general, market interest in a vintage guitar widens the older the instrument is, meaning the number of people interested in a 55-year-old 1954 Stratocaster is probably greater than those interested in a 20-year-old 1989 American Standard. But, saying that the number of people interested in the '54 is greater than those interested in the '89 doesn't mean that there are automatically more ready, willing, and able buyers for the '54 than there are for the '89 in light of the tremendous price difference. An original '54 on eBay will most likely get more page views than an original '89 American Standard, but it wouldn't be surprising if the Standard received more bids as there are probably a larger number of qualified buyers in the Standard's price range.

What fuels the vintage and collectible market? Simply desire. Few of these instruments trade hands because of their playability or tonal quality. If anyone finds a YouTube video of someone playing a Custom Shop Marilyn or Harley Strat in a nightclub, please email me the link. The buy-and-store attitude isn't quite as sharp with vintage Stratocasters as you will find a number of musicians who view them as they were originally intended, working instruments, and likewise a few recording studios keep a variety of vintage guitars on hand precisely for their unique tonal features. But, it's still a safe bet that the majority of vintage and non-vintage collectibles are destined for the display case, closet, or custom storage locker.

The fickle nature of desire makes for a strange and confusing marketplace. Ages and models come in and out of fashion (e.g., the CBS-era Stratocaster's migration from shame to fame) and above all else, what a buyer or seller thinks is significant about a guitar might not be an opinion shared by his counterpart. The collectible Stratocaster market has a number of subcategories, such as 1960s Custom Colors, early Custom Shop one-offs, Custom Shop limited editions, prototypes, artist-related models, '50s two-tone Sunburst Strats, etc. Some collectors follow a particular model, such as the STRAT, the Dan Smith or early American Vintage Reissues. Most Stratocaster fans develop a particular desire bias or two and considering the prolific output from Fender since 1954, it's easy to see why the collectible Stratocaster market is a noisy something-for-everyone playground.

To put this in perspective, let's say that with respect to vintage we use the liberal age of 20. This means we're looking at models manufactured from 1954 through 1989, 35 years of Fender Stratocaster history. Then, if we broaden our interest to include non-vintage collectibles, we have another 20 years to consider, and the last 20 years represents a lineup that is mind boggling in diversity from a standpoint of both U.S. production models and the Custom Shop.

Chances are you're reading this article because you have a pre-existing interest in the Fender Stratocaster and most likely your particular desire bias has already begun to form. To sharpen and focus that bias, it's time to do some homework (or a lot of homework if you're a developing Strataholic). Time to get acquainted with Fender Stratocaster history.

Though websites like Strat Collector News offer a quick fix (or not so quick if you dig deeply), there's probably no better and enjoyable way to get acquainted with the Stratocaster's history than Tom Wheeler's excellent book, The Stratocaster Chronicles. It's the history of the Stratocaster from 1954 through 2004 with fact and detail presented in a story-like manner that brings to life the people behind the instrument. Tom's currently working on a new book that will chronicle the history of the Fender Custom Shop that's bound to have an impact on the non-vintage collectible market. Also highly recommended is A.R. Duchossoir's book, The Fender Stratocaster. Strat Collector News has compiled a basic reading list via Amazon that you might find helpful. And, no matter what Stratocasters interest you, it's always a good idea to spend quality time on Fender's current website, both with respect to its current models and the other information resources it offers. Fender is keenly aware of its history and what it offers today often has something to do with what was or was not popular yesterday.

Let's say you've done your homework, your Stratocaster desire biases are in place, and you're ready to take the pulse of the current marketplace. Where to start? This, of course, is where being online is a true advantage. You could attend the various guitar shows that take place throughout the year, but that's certainly not a quick fix nor is it a very efficient way to obtain a broad market snapshot as each guitar show is limited to the particular vendors involved.

The obvious place to start is eBay, but let me first point out that I'm not advocating buying or selling on eBay (of which I'm doing neither). I'm talking about using eBay as a source of information. I'll use myself simply as a case history.
My desire bias focuses on Fender in the 1980s (including 1979's 25th Anniversary Stratocaster). I enjoy the entire Fender and Fender Stratocaster history, but the classic vintage Stratocaster market (1954-1965) has never been my cup of tea, mostly due to the wealth of information needed to determine originality. I've seen true vintage pros at work and their level of knowledge about what was to me arcane trivia was amazing, and best left to them. The '80s was a rich and pivotal decade in the Fender story that included events such as CBS's sale of Fender to FMIC (and the related model re-thinking) and the introduction of the Custom Shop. While my eBay trip today was for a general collectible market feel (what's available, what's selling, and what's not at the high and middle level of the market), as you'll see, desire bias drew my attention to a few particular models.

Sites like Bob's Vintage Guitars do the research for you, featuring the current listing on eBay for Strats and all other vintage guitars as well.

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FENDER VINTAGE 1983 USA STRATOCASTER
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1965 Fender Stratocaster Olympic White Original Killer Look Vibe and Tone
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VINTAGE 1978 FENDER STRATOCASTER WIRING HARNESS POTS NO RESERVE PROJECT PARTS
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VINTAGE 1980s LOTUS STRATOCASTER STRAT ELECTRIC GUITAR W GIG BAG VERY GOOD
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1974 Staggard Pole Fender Stratocaster
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1979 Vintage Fender American Stratocaster w OHSC All Original
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RARE 1964 Fender Stratocaster Orig Vintage Tortoiseshell Pickguard The Real Deal
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2003 FENDER STRATOSONIC STRATOCASTER STRAT VINTAGE P90 ELECTRIC GUITAR TV YELLOW
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