Do a little homework before you go shopping for a used electric guitar.
During the 25 years I’ve worked on guitars, I’ve had many clients bring in a recently purchased used electric for a setup, only to discover that the axe has serious underlying problems that were not disclosed by the seller. Most guitars you find in a reputable music store have been checked out by the shop’s in-house repair team and are sold at a fair price. But in many cases, instruments acquired from online auctions, pawnshops, or flea markets are not always the “killer deal” they appear to be.
To help you avoid buying a used electric guitar that would cost more to repair than it’s worth, let’s look at some critical things you need to check before making a purchase. These are common problems that can get overlooked when you’re smitten by a flashy paint job or a cool design. (Before you go shopping for a used acoustic, read “Tips for Buying a Used Flattop.”)
Most used electric guitars are going to need some repairs or a setup, and buying a guitar that needs a little work isn’t necessarily a bad deal, as long as you come out ahead when you add bench time and parts to the selling price.
Fit and finish.
The first thing most players notice on an electric guitar is the finish. Normal finish checking doesn’t detract from a used instrument’s value, but stains and discolorations do, so it’s important to inspect the paint or lacquer, which can get damaged by synthetic guitar straps or chemicals (Photo 1). Unfortunately, you can’t simply polish away such flaws if they’ve penetrated the finish.
Refinishing a guitar can be very expensive and actually lowers its value. Most electric guitars are actually worth more “stock and ugly” than “refinished and pretty.” A “refin” guitar is only worth about half of one with a stock finish—even if the original finish is scratched or worn.
Be on the lookout for cracks that go through the finish right down to the wood. A deep crack in the finish can be a sign of separating seams in the body, whether it’s a solid, semi-hollow, or hollow instrument. It’s very expensive to fix such structural damage.
Heads up.
Photo 2
Heads up. Always thoroughly inspect the headstock! The area where the neck transitions into the headstock is vulnerable to damage, and Photo 2 shows what can happen if the guitar is dropped or takes a hit in this area. Look for wrinkles or ridges on and around the headstock—telltale signs of a headstock repair. Even when perfectly repaired, a guitar with a broken headstock is only worth half of one that has never been broken. This can be a game-changer when deciding to buy a used electric.
Fretboard issues.
Photo 3
Carefully inspect the frets. Dents or divots cause by string wear (Photo 3), can be expensive to repair or replace. Most professional luthiers charge about $150 for a fret level. A full refret can easily cost $300 to $600, depending on the condition of the fretboard.
If the neck looks consistent from the first to last fret, and the truss rod allows for adjustment, that’s a good sign. But if you sight down the neck and see a rollercoaster track, that’s going to need a lot of work to correct. At minimum, excessive forward or backward bowing means the truss rod is out of adjustment, but it might also be a tipoff that the truss rod is stripped or broken. Replacing a broken truss rod is a major operation.
Another big issue is when there is a kick-up or “ramp” at the end of the neck—the last five to eight frets. This means the end of the fretboard is warped, and fixing this typically requires a partial or full refret.
Neck angle.
How the neck attaches to the body determines the playability of any guitar, and it’s one of the most overlooked issues when buying a used instrument. Here’s what you need to look for: If the bridge saddles are as low as they can go but the action is still too high, the guitar has an excessively low neck angle. Conversely, if the saddles are adjusted as high as they can go (Photo 4), yet the action is still too low, the neck angle is too high.
Either way, the guitar will need to have its neck angle reset to play well. For an electric guitar with a bolt-on neck, it’s not an expensive repair—perhaps only a little more than a typical setup. However, if the guitar has a set neck (i.e., the neck is glued into the body), changing the neck angle is very expensive. In the latter instance, unless the guitar is worth a lot of money, it’s not cost effective to reset the neck.
Hardware.
If you know what to look for, inspecting the hardware is easy. At first glance you can tell if the plating is in good condition. Beyond that, it’s a good idea to closely inspect the condition of the adjustment screws in the bridge, the nuts and washers that hold the knobs, any neck mounting hardware, the screws, washers, and nuts that secure the tuning keys, and so on. Look for stripped threads, rounded nuts, and missing screws.
Is there any rust? Recently I had an old electric come into the shop with several rusted screws in the bridge (Photo 5). They were completely seized up, and to extract the screws I had to first soak the saddles in oil, and then apply a lot of heat. (To prevent this from happening to your guitar, wipe off the hardware with a soft cloth after each playing session, and use Q-tips to remove sweat and dirt when it builds up in hard-to-reach areas.)
If the guitar has a Tune-o-matic-style bridge, check for what I call “smiling bridge syndrome.” This occurs when the bridge frame starts to sag or collapse between the bridge posts. If the 3rd and 4th strings are lower than the 1st and 6th, the bridge will need to be replaced.
Electronics.
With the guitar plugged in, rotate the volume and tone knobs while listening for scratchy pots. Then test the switches and gently jiggle the cable at the output jack. If the signal coming out of the guitar is noisy or intermittent, this will require further testing and repair. In some cases, you can fix a noisy pot or switch by spraying it with contact cleaner, followed by compressed air. But if there’s serious corrosion, scratchy pots and switches will need to be replaced. Though pots, switches, and jacks are relatively inexpensive, the labor can add up.
Tip: A previous owner may have changed out the pickups but not wired them correctly so they’re in phase with each other. If the combination of any two pickups sounds thin, bright, and really annoying, then they’re probably out of phase. This can be fixed, but you’ll be paying for the time it takes to disassemble and rewire a guitar.
To summarize:
When buying a used electric guitar, always weigh the cost of repairs against the instrument’s market value. Most used electric guitars are going to need some repairs or a setup, and buying a guitar that needs a little work isn’t necessarily a bad deal, as long as you come out ahead when you add bench time and parts to the selling price. Before you buy an instrument, research its street value and try to get an estimate on repair costs from a qualified repair tech or luthier.
[Updated 1/12/22]
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An amp-in-the-box pedal designed to deliver tones reminiscent of 1950s Fender Tweed amps.
Designed as an all-in-one DI amp-in-a-box solution, the ZAMP eliminates the need to lug around a traditional amplifier. You’ll get the sounds of rock legends – everything from sweet cleans to exploding overdrive – for the same cost as a set of tubes.
The ZAMP’s versatility makes it an ideal tool for a variety of uses…
- As your main amp: Plug directly into a PA or DAW for full-bodied sound with Jensen speaker emulation.
- In front of your existing amp: Use it as an overdrive/distortion pedal to impart tweed grit and grind.
- Straight into your recording setup: Achieve studio-quality sound with ease—no need to mic an amp.
- 12dB clean boost: Enhance your tone with a powerful clean boost.
- Versatile instrument compatibility: Works beautifully with harmonica, violin, mandolin, keyboards, and even vocals.
- Tube preamp for recording: Use it as an insert or on your bus for added warmth.
- Clean DI box functionality: Can be used as a reliable direct input box for live or recording applications.
See the ZAMP demo video here: https://www.youtube.com/watch?v=xJp0jE6zzS8
Key ZAMP features include:
- True analog circuitry: Faithfully emulates two 12AX7 preamp tubes, one 12AX7 driver tube, and two 6V6 output tubes.
- Simple gain and output controls make it easy to dial in the perfect tone.
- At home, on stage, or in the studio, the ZAMP delivers cranked tube amp tones at any volume.
- No need to mic your cab: Just plug in and play into a PA or your DAW.
- Operates on a standard external 9-volt power supply or up to 40 hours with a single 9-volt battery.
The ZAMP pedal is available for a street price of $199 USD and can be purchased at zashabuti.com.
You may know the Gibson EB-6, but what you may not know is that its first iteration looked nothing like its latest.
When many guitarists first encounter Gibson’s EB-6, a rare, vintage 6-string bass, they assume it must be a response to the Fender Bass VI. And manyEB-6 basses sport an SG-style body shape, so they do look exceedingly modern. (It’s easy to imagine a stoner-rock or doom-metal band keeping one amid an arsenal of Dunables and EGCs.) But the earliest EB-6 basses didn’t look anything like SGs, and they arrived a full year before the more famous Fender.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.