Here’s a treat – from Stevensville Maryland in 1990, a PRS Signature Limited Edition, number 593 of 1000 – a spectactular guitar in great shape!
Introduced in 2003 and still in production, the Ernie Ball Music Man Bongo 5 HH Bass features active electronics for its pair of humbucking pickups. At its core, the Bongo bass draws from the classic, proven bolt-on designs developed during the early 1950s. However, it is considerably more advanced and available in 4, 5 and 6 string versions, all with 24 frets. These are very versatile, reliable basses with a huge range.
The Gibson ES 150 was one of the earliest production electric guitars, and perhaps the first successful Electric Spanish – as distinct from Electric Hawaiian – guitars. Built from 1936 to 1956, the Gibson ES 150 is full bodied non-cutaway archtop guitar with a solid Spruce top and Mahogany for the back, sides, neck, body blocks and back bracing; the bridge and bound fingerboard are Rosewood, and for the period, it’s expected that the ‘Brazilian’ is silent. Brazilian Rosewood has become exotic and restricted, but at the time it was very common.
The Fender Custom Shop 1951 Telecaster Relic features a light-weight Ash body, and a full-U profile, one piece Maple neck. This neck design was one of Leo Fender’s breakthroughs. The finish reproduces the original nitrocellulose lacquer ‘blonde’, but with significant wear. Tuners are Kluson Deluxe style with metal buttons, as Fender continued to use for decades. The bridge offers three Brass saddles, and has the Patent Pending stamp, as many early 1950’s models did (until Fender ran out and had to re-order).
Handcrafted using solid woods, the Alhambra 7P CW E5 Cutaway Classical features a Red Western Cedar top model paired with Indian Rosewood for the back, sides, bridge and head plate. The neck is Mahogany, with Ebony for the fingerboard and neck stiffener. Body blocks and linings are Mahogany, with Spruce for the top bracing.
Here we have an original condition Yamaha SA 1200S, built during 1980 at Yamaha’s shops in Hamamatsu, Shizuoka Prefecture. The Super Axe line had been built for fourteen years, and over time came to have a body shape more like a Gibson ES 3xx model. The headstocks were unique to Yamaha, and there was no risk of infringing on Gibson’s models. These were high quality instruments, with varying levels of decoration. After 1984, SA production was moved to Taiwan.
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I came to Twelfth Fret with an all original 1967 Gretsch Chet Atkins Tennessean which I had purchased online. The guitar was barely playable, would not tune and was just a very expensive disappointment. After a consultation with Scott, he came up with a plan to see if this guitar could be brought back to life. After great communication, Scott put his skillful hand to work and gave me back one of the greatest guitars I have ever played!
I went from totally disappointed with this guitar, to it being one of my favorites. I don’t know how Scott did it, but unbelievable. Great communication throughout the process, incredibly skillful work, and most of all just a real desire on Scott’s behalf to bring this thing back to life as best he could. I went from having totally given up, to very boastful to own this guitar. Completely blown away.
Absolutely no hesitation bringing any future projections to Scott and the rest of the staff. Thank you so much!