Archive for the ‘Guitar Accessories’ Category

Image may contain: 1 person, indoor

Over the past year, Reverb have had the privilege of partnering with a cast of amazing artists to help them sell their excess gear. They have launched artist shops from the likes of Billy Corgan, Nils Lofgren, Bill Ward, Jimmy Chamberlin, and Wilco, just to name a few. Today, we’re excited to announce that J Mascis of Dinosaur Jr will be joining the ranks, with the Official J Mascis of Dinosaur Jr. Reverb Shop.

J’s shop will launch on Tuesday, October 31st and will be stocked with over 100 pieces of the “ear-bleeding country” rocker’s gear used on various Dinosaur Jr. tours, in studio sessions, and with his solo and other projects.

In discussing the shop, J told us that while it’s difficult for him to part with gear, things are starting to pile up, and it’s time for him to make some more space in his studio. He added, “Plus, if I can get this gear into a good home, I’ll have more room to buy some more stuff.”

Based on the items for sale in J’s shop, we can see why it might be difficult. He’s selling a beautiful cache of vintage guitars, including a 1929 Pre-War Martin Parlor, a refined 1965 Burgundy Mist Fender Jaguar, and a 1954 Pre-Gibson Epiphone Acoustic flattop that supposedly belonged to Richard Gere at one point. J is also selling the 1968 Martin D-28S that he often used in the studio and while touring in support of his solo projects.

Naturally, J’s shop also features a couple of amps, like the signature ‘69 Marshall 100W Super Tremolo with the massive 8×10 Marshall 1990 cab and a ‘70s Purple Fender Twin Reverb, about which J told us, “Of course I got it because it was purple and it was cheap.”

As any fan would know, J considers himself “a drummer that plays guitar,”   A clear standout in the drum corner is a C&C Purple Sparkle Drum set that J used while drumming for Sweet Apple. He’s also parting with a pair of Leedy and Ludwig kick drum shells that he used with his and Lou Barlow’s high school hardcore band, Deep Wound. More standout drum pieces are the ‘70s Blue Sparkle Gretsch Rack Toms that were used on Green Mind, Whatever’s Cool With Me, Where You Been, and J’s self-titled LP, which he says is his favorite record he’s ever played on.

Known for his extensive use of fuzz pedals — specifically Big Muffs and Tone Benders — the shop will also feature dozens of pedals used in the studio and on tour. You can also find a couple of odds and ends peppered into J’s official shop, like the Danelectro Baby Electric Sitar that he used on tour with Dino and a Moog MemoryMoog used on several J Mascis + The Fog albums while J was “going through [his] synth period.”


brad barr gibson guitar

Brad Barr of The Barr Brothers has been playing with the same guitar pick since he was 16 years old! He shows us how his guitar pick fights ignorance through music, and what it sounds like on a tackle-box guitar.

He also talks here about some of his fav guitars , Brad Barr’s vintage guitars attracted notice. he took some extra time to talk about his guitars, one of which has great sentimental value.

Yeah, the lap-steel he has is an Oahu — we think it’s late ’30s, early ’40s. I found it in an antique store in Austin, Texas. Got it for about 75 bucks, and I put about six or seven hundred into it. Right when it got back to Montreal, it started committing suicide — caving in and so forth. But a great luthier in Montreal helped me get it in shape. It’s an amazing guitar. Really fun to play.

And then the other is a 1951 Gibson J-45. I found that one in Chelsea Guitars in New York.

My uncle passed away in the late ’90s, and he left me a J-45 from about the same year, and it was stolen in New York out of the back of a car. So I sort of made it my mission for a few years to replace it for myself because I loved playing it so much as well as for the family.

My uncle also had a daughter who was very sad when that guitar was stolen, so my way of replacing a family heirloom was to buy this one, and it’s been my favorite guitar to play since. Uncle Ted. Ted Barr. He was a painter and a guitar player. He lived in Ashland, Oregon. I guess he moved out there in the ’60s, and I went out to visit him when I was about 18; I hadn’t seen him since I was maybe 12. I went to visit him and just sort of pillaged his record collection and played his guitars and hung out at his house for about a month, just sort of soaking it in.

He lived in a little, tiny house out there and he was in pretty rough shape; he died of a heart attack, but I think it was like his third heart attack. He tried to heat his house just by turning his oven on and opening it, and that nearly killed him. He lived pretty hard, pretty rough, but he was a great teacher to me, and I’m ever grateful for him.

You write a lot of your songs on the J-45?
I do write a lot on that guitar. I also write on my other one — I have a Martin nylon-string guitar that I write on a lot. I like to use that. I don’t know; there’s something about the quality of that guitar — it’s a ’69 nylon-string Martin that never comes on the road but is sort of my house guitar, and I write on that one a lot. But yeah, the J-45 has given me a lot of great songs. It’s got a great growl to it.

But I hope to find a guitar that’s not quite as precious and fragile. This one has really thin wood, which is why it sounds so good. But it’s seen a lot of road and I don’t know how much it has left in it. I want to make sure it’s always there for recording and also, just to be there!

Maybe it could take another 20 years on the road or maybe it’s ready to retire. If I can find someone who can make a guitar like this or something similar to it, I would probably try it out at the very at least, if not bring it on the road.

But so far, there’s nothing that really compares to this guitar for me.

Image result

Smashing Pumpkins singer and bass player Billy Corgan has announced plans to sell almost all of the rare music equipment he used throughout his career.

Partnering with online music gear marketplace Reverb, Corgan plans to place up to 150 listings which includes a a Stratocaster and a pair of Marshall JMP-1 amps that featured on iconic records Siamese Dream and Mellon Collie and the Infinite Sadness.

“Of all the artist-owned gear we’ve been fortunate to sell on Reverb, this collection of gear from Billy Corgan has arguably the most historic prominence – you can feel it when you pick up any one piece,” Reverb’s Jim Tuerk said in a statement issued to Rolling stone. “These are the tools that not only defined one of the all-time greats, but an entire generation of music.”

Corgan, who will also sell his 1969 Gibson EB-3 Bass, described the instrument as having “a very Jack Bruce sound.”

“I used this on everything from Mellon Collie to Machina,” he added. “It’s one of those secret-weapon recording basses.”



Here are a handful of things on offer, according to Reverb:

  • Corgan’s #2 Stratocaster. A modified, star–covered 1988 Fender AVRI Strat that recorded most of Siamese Dream and Mellon Collie, including “Today,” the solo of “Cherub Rock,” and many more.
  • A pair of Marshall JMP-1s that were the main preamps for Mellon Collie album and the tour.
  • Two Alesis drum machines, one used for the loops on “1979” and another that was used to record many early Pumpkins‘ demos before Jimmy Chamberlin joined the band.
  • The modified 1990s Les Paul Special used to record much of the Machina album and played regularly on that tour, and the two backup LP Specials from the tours.
  • The rackmount ADA MP-1 preamps used to record Gish.
  • A Fender Subsonic Stratocaster in Sonic Blue from the Zeitgeist era signed “This is what true freedom looks like. Billy Corgan.” One of the few items in the shop signed by the guitarist, it was originally set to go to auction in 2008 before Corgan decided against it.
  • The Fernandes sustainer guitar used in the studio and on tour for most of Adore.
  • A 1969 Gibson EB–3 Bass in Walnut dubbed the Mountain Bass used as a “secret weapon” on everything from Mellon Collie to Machina.
  • The small Crate combo amps used to get the distortion sounds on Machina.
  • The arsenal of Diezel and Bogner amps used to record and tour for Zeitgeist.
  • Dozens of collector–grade vintage guitars, including two ’58 Strats, a ’63 Candy Apple Red Strat, a 1953 Gibson Super 400, and a ’66 Rickenbacker 360.
  • A vintage 1950s accordion and an autoharp used on the Mellon Collie tune “We Only Come Out at Night.”

Through 10 studio albums and 23 years of world-spanning tours, Wilco has always been a band that’s covered a lot of musical ground. The Chicago outfit’s output has touched everything from country to noise rock, earning them a diverse legion of fans along the way.

Next Thursday, you’ll have the chance to buy some of Wilco’s gear. Jeff Tweedy and company will be opening up a shop on called “The Wilco Loft Shop,” named after their Chicago studio/”safe haven for making music” where much of the gear currently resides, and selling off various items from their collections.

The instruments range from insanely valuable, including a 1958 Gretsch 6021 and two 1940’s Gibson flattop acoustics, all owned by Tweedy, to more collector-focused, like an assortment of guest passes from past Wilco tours. Tweedy discusses the decision to open up the online shop, stating, “Every once in a while we look around the loft and say ‘Geez, there’s just too much stuff up here,’” adding, “We hate to see it go, but we’re sure you’ll put it to good use!”.

A canon this versatile requires an extensive collection of gear. On Thursday, March 16th, the sextet is set to release some of their arsenal back into the wild of Reverb as part of the official Wilco Loft Shop.

This latest batch of Wilco gear reflects the particular tastes of each member of the band. Nels Cline is parting with an experimental offset from Bilt Guitars, while the always eclectic Glenn Kotche has bundled together various lots of percussive odds and ends from his personal stash. Keyboardist Mikael Jorgensen is selling a couple of analog synths, while multi-instrumentalist Pat Sansone is passing along a pair of road-tested Telecasters.

The lion’s share of the sale comes from noted gear shepherd, Jeff Tweedy. Choice pieces include a pristine 1958 Gretsch 6120 hollowbody, a modified ’70s Gibson Explorer, a Bigsby-loaded ’67 Tele, and two original banner-era Gibson flattops.

It’s not all collector-grade fodder, though. Also included in this sale are historical oddballs, like a set of Czech-made Jolana guitars from the ’60s, as well as instruments from Harmony, Ovation, and Burns, among many others.

The Wilco Loft Shop will be live on Thursday, March 16th on All items have been used by members of the band on tour and in the studio, and each item will ship with signed certificates of authenticity..

From his beat-up Les Paul to his battered amps and vintage effect pedals, Neil Young’s stage rig is a road-worn tribute to his timeless sounds. “When it comes to equipment, the idea with Neil is that you don’t change anything,” says guitar tech Larry Cragg. “You don’t even think about it.”

Cragg is himself among the many constants in Neil Young’s gear universe, having worked for the musician since 1973. A respected guitar repairman—he’s been Carlos Santana’s go-to guy for 40 years—who also owns his own vintage instrument rental company, Cragg first met Young while at Prune Music, a guitar shop in Mill Valley, California.

“At first I was just fixing his guitars,” says Cragg. “But a few years in, he was on the road in Japan when I got a call from his people saying, ‘Get on an airplane!’ And I’ve done every tour since.”

Neil Young brought his standard rig out on the road for his 2009 tour, a mostly electric guitar-dominated jaunt. True to Cragg’s word, his setup has remained largely the same over the years. But if Young is consistent in the equipment he uses to create his sound, the various pieces of gear also tend to be as idiosyncratic and susceptible to change as the man himself.

At the center of it all is the volatile 1953 Gibson Les Paul goldtop Young calls Old Black. A brutal and battered beast, the guitar is responsible for the legendary gritty tones heard on countless Young classics, including “Cinnamon Girl,” “Down By the River” and “Hey Hey, My My (Into the Black).”

The Les Paul, which features a Bigsby tremolo and a P90 pickup in the neck position, received the black paint job that inspired its nickname prior to being acquired by Young. Since then, it’s undergone several further modifications, including the addition of a “chrome-on-brass” pickguard and back plates, a bridge-position Firebird pickup and a toggle switch, installed between the two volume and two tone knobs, that acts as a bypass. “You flip that,” says Cragg, “and the Firebird goes straight to the amp.”

Cragg installed the Firebird pickup back in 1973. “Originally there was a P90 in there,” he explains. “But in the early Seventies the guitar was lost, and when Neil recovered it a few years later the bridge pickup was gone. He put a Gretsch DeArmond in there for a while, but when I came onboard I replaced that with the Firebird, which has been there ever since. Everyone calls it a mini humbucker, but it’s not. It’s a humbucker, and it’s very microphonic—you can speak into it. It’s really piercing and high and a big part of his sound.”

Old Black remains Young’s primary electric for both studio and live work, but he has also of late been making ample use of his 1961 Gretsch White Falcon onstage. Cragg says, “That’s the real deal. Neil’s had it forever. It’s kind of green-looking and really stunning. There’s probably only 10 or 11 of those around.” The guitar, a stereo, single-cutaway model, figured prominently in Young’s work with Buffalo Springfield and CSNY, as well as on solo songs like “Words (Between the Lines of Age).”

Other electric guitars used by Young on his recent tour include a 1956 Les Paul Junior of Cragg’s that he calls a “really rude, in-your-face killer,” and a second ’53 goldtop that the tech assembled as a stand-in for Old Black.

Cragg says, “I put that together around the time of [1990’s] Ragged Glory, and Neil used it on about half that album. It’s not black, but it’s got the metal pickguard and covers, the Firebird pickup, everything. It feels different, but it still kicks butt. It’s a little more powerful and a little less piercing than the original.”

For his touring acoustics, Young has been relying on a trio of Martins, all equipped with Cragg’s stereo FRAP (Flat Audio Response Pickup) transducers: the 1968 D-45 used to record much of 1972’s Harvest; “Hank,” an early Forties D-28 formerly owned by Hank Williams; and a second D-28 that Cragg tunes to what Young calls “A# modal” [low to high: A# F A# D# G A#].

“That one’s a ’62,” Cragg says of the detuned guitar. “It’s also been shot. There’s a mark on the bottom where the bullet went in.”

Neil Young: Ragged Glory

Cragg uses D’Angelico 80/20 Brass strings (.012–.054) on Young’s acoustics, and Dean Markley Super V’s (.010–.046) on his electrics. Picks are nylon Herco Gold Flex 50s. “Neil used those when I first started working for him, and he still does today.”

At the core of Young’s amplifier setup is a piece of gear as essential to his sound as Old Black: the 1959 tweed Fender Deluxe he’s used since the late Sixties. A small, 15-watt unit, with just two volume knobs and a shared tone control, this amp, says Cragg, “makes all the sound. Onstage, as loud as everything gets, that’s what you hear. And it’s totally stock except for two 6L6’s in place of the original tubes. That boosts the output from 15 to 19 watts, and it kills.” An added consequence of this rebiasing is that the amp runs extremely hot; Cragg has high-powered fans trained on the back of the Deluxe to “keep it from blowing up.”

Young derives his distortion entirely from the Deluxe’s output-tube saturation. He coaxes various gain stages from the amp using a device called the Whizzer, a custom-made switching system he and his late amp tech, Sal Trentino, developed around the time of the Rust Never Sleeps tour in 1978. A high-tech concept housed in a rudimentary box, the Whizzer boasts four preset buttons, each corresponding to one volume/tone configuration on the Deluxe. Young accesses the presets through footswitches on his pedal board, which, in turn, command the Whizzer to mechanically twist the Deluxe’s tone and volume controls to the programmed positions.

All four of the Whizzer’s presets dial in distorted tones on the Deluxe. “The first one,” says Cragg, “is still clean enough that Neil can get really nice dynamics, depending on the way he picks. The second setting is the one he uses on songs like ‘Hey Hey, My My,’ and the third one is really distorted.” The final setting, which moves the Deluxe’s main volume and tone knobs to 12 and the second volume control to roughly 9.9, produces a sound that, says Cragg, “is basically a woooaaarrr type of thing.”

Cragg pads down the output from the Deluxe and feeds it into a Magnatone 280 with stereo vibrato combo amp, and a Mesa/Boogie Bass 400 head with the highs EQ’d out. The latter amplifier is run through a massive Magnatone speaker cabinet that sports “eight horns, four 10-inch speakers, four 15-inch speakers and two 15-inch passive radiators.” The stage rig is rounded out by a 25-watt tweed Fender Tremolux of Cragg’s that the tech rebiased to run at 40 watts, as well as a “high-powered, four-6L6” tweed Fender Twin. Cragg uses a combination of Sennheiser 409 and Shure SM57 microphones on the amps. Young’s reverb unit, a stock, brown-tolex-covered Fender model, is stationed behind the wall of amplifiers. “We have three plates for that,” says Cragg. “We only use one at a time, but they all sound different.”

Young controls everything from an oversized, red wood pedalboard at the front of the stage. The slanted portion features five buttons: one for each of the four Whizzer presets, as well as a reverb kill. Across the top panel are switches for, variously, a Mu-Tron octave divider; an old, AC-powered MXR analog delay; a Boss Flanger in a “blue, cast-metal box”; and an Echoplex. All are housed inside the board. There is also an effect-loop bypass and mute/tune option, as well as a switch that Cragg refers to as the “ugly button.”

“That’s a very strange thing, and Neil only hits it when he wants to go to the next level,” he says. “It activates a unit that’s just totally freaked out.” Cragg laughs. “It’s adjusted how it definitely should not be adjusted. But Neil seems to like that.”

10.4 guitarlington

The world’s largest consumer guitar trade show being held Oct. 15th & 16th at the Arlington Convention Center. Buy, sell or trade new and vintage guitars, amps, banjos, mandolins, memorabilia, sound gear, records, drum kits, accessories and lots more from over 100 different vendors

Meet The Pedal That Makes Your Guitar Sound Like An Orchestra

Check out the MEL9, its the latest creation from the creative folks at Electro-Harmonix.

This peda will extend your imagination as it simulates those classic sounds of the Mellotron, the early synthesiser which used rows of tapes to emulate sounds like orchestra strings.

You know those flutes at the beginning of ‘Strawberry Fields Forever’ by The Beatles? Yeah, that’s the sound of a Mellotron. You’ve likely heard similar types of sounds all throughout rock and roll and pop music. particulary the sounds of Genesis and the Moody Blues.

Mellotrons are quite a coveted item amongst studio and recording geeks, but they’re pretty pricey and require regular maintenance. Since people well-versed in Mellotron maintenance are hard to find these days, that’s also expensive. But Electro-Harmonix have put a Mellotron in the palm of the hand of any guitarist. As Mixdown reports, the MEL9 has settings for nine different sounds inspired by the Mellotron, including orchestra, cello, flute, and strings.

No modifications or special pickups are necessary for the MEL9 to work, you just plug in, and it can even track bends and slides, so you can actually make your orchestra rock a sweet shredding solo.