PG's Rebecca Dirks is On Location at NAMM '09 where she stops by the Dean booth. Here, she talks with Elliott Rubinson (Dean CEO) Buddy Blaze (famous luthier) and Pat Baker (Dean US Custom Shop) as they talk about their latest project, the Dean Buddy Blaze ML. All three guys describe their part in the process and how they wanted to create a whole new guitar that met Buddy's standards. Pat Baker takes the Buddy Blaze ML for a ride through the new Dean Dime amp.



PG's Rebecca Dirks is On Location at NAMM '09 where she stops by the Dean booth. Here, she talks with Elliott Rubinson (Dean CEO) Buddy Blaze (famous luthier) and Pat Baker (Dean US Custom Shop) as they talk about their latest project, the Dean Buddy Blaze ML. All three guys describe their part in the process and how they wanted to create a whole new guitar that met Buddy's standards. Pat Baker takes the Buddy Blaze ML for a ride through the new Dean Dime amp.

This rare English Tonemaster was made circa 1957.

The Valco-produced English Tonemaster is a rare, lap-steel-inspired gem from the 1950s—when genres and guitar design were fluid.

The 1950s were a peculiar time for the electric guitar. Innovators, designers, and tinkerers were pushing the boundaries of the instrument, while musicians were experimenting with various playing techniques and sounds. There was an evolution of sorts (or de-evolution, depending on your slant) from solidbody “sit-down” guitars, like pedal and lap steels, to “stand-up” or “upright” solidbody electrics. If you look at an early Fender catalog—let’s say from 1953—you’ll see the Telecaster (and Esquire), the Precision Bass, and then a whole bunch of steel guitars. There was a shift underway, and many manufacturers began to blur the lines of what a guitar should look, sound, and play like.

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PRS Guitars and John Mayer officially announce the PRS SE Silver Sky, an affordable version of the original with PRS trademark bird inlays and three single-coil pickups.

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