
Photo 1
Ready to tweak your 6-string for maximum musical versatility?
For decades, blues and rock guitarists have been laying glass or metal cylinders across their strings to add expressive riffs to their music. Unlike a Dobro or lap steel, which is played horizontally with a bar and has its strings jacked up way off the fretboard, a standard 6-string guitar can be set up for both fretting and slide work—if you know what you're doing.
Let's explore how to finesse a guitar so its strings sit high enough to keep a slide from crashing into the frets, yet remain close enough to the fretboard that you can play chords and riffs with your fingertips. Yes, you can have it all, as Duane Allman, Johnny Winter, Sonny Landreth, Ry Cooder, Derek Trucks, and many other greats have proven over the years.
It's not too hard to set up an electric guitar for dual duties, so that's what we'll focus on. It's more of a challenge with an acoustic, but with a little ingenuity, you can also adapt the following techniques to a flattop, so read on.
Project overview.
To illustrate the steps, I'll use a 2003 Gibson Les Paul Studio (Photo 1) a client brought in to have converted into a ripping slide guitar. He wanted to stick with his moderately light .010–.049 strings so he could comp and solo as usual, but he also wanted to augment his standard riffage with slide licks when the spirit moved him.
To make this happen, I suggested he use a lightweight, straight-wall glass slide—similar to Allman and Trucks—as opposed to the heavier brass or bottleneck slides that are often favored by acoustic resonator guitarists. Why? Using a lightweight slide, such as a Dunlop Derek Trucks Signature medicine bottle or the aluminum BigHeart Firecracker, makes it possible to use slinkier strings and keep the action reasonably low. Heavier slides can sound great, but they demand stouter strings and stiffer action. A light slide allows you to find that sweet spot in your setup where you can use the same guitar for two very different techniques.
Preliminary measurements.
Photo 2
The first step is to measure three things: action at the 12th fret, neck relief, and string height at the 1st fret. These measurements will provide a baseline to work from.
Here's the process: To measure the action, first tune to pitch (this is crucial) and then place a capo on top of the 1st fret. Next use a precision metal ruler to measure the string height at the 12th fret. I use a String Action Gauge—a handy tool from Stewart MacDonald—(Photo 2) for this. You want to determine the distance between the top of the 12th fret and the bottom of both the 6th and 1st strings.
Photo 3
On this Les Paul, the gap was 3/64" for the 1st string and 4/64" for the 6th. This action is comfortable for my client, but too low for slide.
Now to measure the amount of relief. With the capo still on the 1st fret, hold down the 6th string at the last fret and measure the greatest distance between the bottom of the string and the top of the frets (Photo 3).
On my client's guitar, the relief was .012"—perfect for his current playing style and also fine for supporting a lightweight slide. If your guitar has less relief, you may need to loosen the truss rod very slightly to introduce a tad more forward bow. (Read "Time for a Neck Adjustment?" to learn more about working with a truss rod.) But before you take that route, first complete the setup I'm about to describe. It's quite possible these steps will be all you'll need to enter the slide zone.
Photo 4
Next, remove the capo (it wouldn't hurt to confirm your strings are still at pitch) and measure the height of the 1st and 6th strings at the 1st fret (Photo 4).
In this case, the height was 1/64" and 2/64" for the 1st and 6th strings, respectively. While this is ideal for fretting chords and lines, it's too low for playing slide.
From these preliminary measurements, I was able to determine what would be required to give this Les Paul its new dual identity:
- Raise the action at the bridge and then adjust individual saddles.
- Raise the action at the nut by either shimming the stock nut or carving a new one.
- Adjust the pickups to balance string-to-string volume.
- Adjust the intonation.
Adjust the bridge.
To raise the action on a Les Paul's Tune-o-matic bridge, turn the thumbwheels counter-clockwise (Photo 5). Do this in small increments, perhaps a quarter of a rotation for each thumbwheel. Retune the guitar, put a capo on the 1st fret, and then measure the action at the 12th fret again.
For starters, I suggest adjusting the action to 4/64" on both the 1st and 6th strings. Remember, you can always come back and raise the treble or bass strings a bit more if you find your slide is hitting the frets.
Adjust the saddles.
Now here's our first tricky part. Most lightweight slides (such as a glass or chrome tube, or the medicine bottle favored by Allman and Trucks) contact the strings in a straight line. However, on a guitar set up for fretting—including my client's LP—the strings follow the fretboard radius or curvature. In other words, strings 1 through 6 are subtly arched at the bridge so they sit at a consistent height above the frets.
Slide licks often incorporate two or three strings at a time. When your slide has a straight playing surface, yet the strings are arched, you'll wind up pressing some strings down more than others as you move across the fretboard. This can create subtle intonation problems within a chord or interval.
Yes, you can have it all, as Duane Allman, Johnny Winter, Sonny Landreth, Ry Cooder, Derek Trucks, and many other greats have proven over the years.
The solution is to flatten the string radius at the bridge so the strings sit in a straight line that corresponds to the slide's playing surface. On a guitar with individually adjustable saddles, like a Strat, it's easy to raise or lower each string to achieve the target 4/64" gap between the bottom of all the strings and the top of the 12th fret.
However, on a guitar with a fixed-radius bridge—such as a Les Paul with a Tune-o-matic—some saddle slots will need to be deepened slightly to create a flat line between strings 1 and 6. Typically it's the middle saddles that need attention, but your current bridge radius and string gauges will determine which slots require recutting and by how much.
Gauged nut slotting files, which are available from Allparts, Stewart-MacDonald, and other luthier suppliers, work great for this task because you can precisely size the slot to match the string. For example, knowing that my client plays a .010–.046 set, I'll use a .036 gauge nut file to deepen the notch for the .036 A string.
The process is pretty straightforward: After you've set the bridge so the 1st and 6th strings are 4/64" above the 12th fret, measure the 2nd string. If it's also 4/64" at the 12th fret, move onto the 3rd string. But if it's higher, carefully deepen the slot to bring the 2nd string down to 4/64".
Photo 6
When re-cutting a notch, always follow the angle of the string as it emerges from the tailpiece up to the saddle (Photo 6). Go slowly, retuning and then measuring the action every few file strokes. Gently clean off any burrs on the front or back of the saddle using the nut file. This will prevent the string from getting caught up on the saddle and creating tuning issues.
Repeat the process on each inside string until you've achieved a uniformly level playing surface across all six strings. It's painstaking work, but the payoff in tone and feel will be worth the effort. Once you've flattened the radius and are satisfied with the overall action, you'll be ready to move over to the nut.
Raise the nut.
From experience, I knew that having the 1st string sit 1/64" above the 1st fret is too low for slide, so I'd need to raise the nut on this Les Paul. The trick, of course, is to get the nut high enough to accommodate slide technique, yet not make the guitar unplayable when fretting. Based on the owner's playing style, string gauges, and light glass slide, I decided on a uniform height of 2/64" for all six strings on his guitar.
There are only two ways to correctly and permanently raise the nut: You can shim it or carve a new one. The owner wanted to keep the stock Gibson nut, which was in excellent condition, so we elected to shim it.
Here's how that works: First remove the nut by gently tapping it on the fretboard side with a flathead screwdriver and small hammer (Photo 7). Next, clean up the nut slot by removing the excess glue with a small chisel or razor knife, and then scrape any glue off the nut.
Photo 8
Now super-glue the nut onto a thin piece of mahogany (Photo 8). For this kind of shim, I use a .020" thick piece of wood.
Trim off the excess wood around the string nut with a razor knife (Photo 9). Install the string nut and secure it with one drop of super glue on the face of the nut between the 4th and 3rd strings.
Adjust the pickups.
After you change the action on a guitar—especially to this degree—it's a good idea to adjust the pickups to make sure the treble-to-bass and string-to-string balance is how you want it.
First start with overall pickup height. Hold the 1st and 6th strings down at the last fret and measure the distance from the bottom of the strings to the top of the pickup. The distances in this table provide a good starting point for humbuckers.
Photo 10
The next step is to adjust the individual pole pieces using a small flathead screwdriver (Photo 10). The goal here is to create an even and consistent string-to-string balance.
Begin with the 5th string pole piece and adjust it to match the volume of the 6th string. Raising the pole piece will make a string louder and vice versa. Then move to the 4th string and compare it to strings 6 and 5. Continue working across the strings, checking them relative to each other and making small tweaks as necessary. Typically, the 3rd string is the loudest, so don't be surprised if you wind up lowering it below the pickup cover to keep it in balance with the other strings.
It's a wrap.
The final step to complete the project is install a new set of strings, tune to pitch, and adjust the intonation. If you need instructions for checking and adjusting the intonation, read "How to Install a New Tune-o-matic Bridge."
With the string height and pickups adjusted for playing slide, our project Les Paul is ready to return to its owner. But before he carts it off, I'll listen to him play and see if the bridge height and pickup pole pieces are dialed in to his satisfaction. If you set up your own guitar for double duty, you may find yourself making small adjustments after playing it for a few days. That's the beauty of being your own tech, right? That said, if you're not confident you can safely work with glue, files, and other tools around your guitar, take it to your local pro.
[Updated 11/18/21]
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Over the decades with Hüsker Dü, Sugar, and solo, Bob Mould has earned a reputation for visceral performances.
The 15th studio album from the legendary alt-rocker and former Hüsker Dü singer and 6-stringer is a rhythm-guitar record, and a play in three acts, inspired by sweaty, spilled-beer community connection.
Bob Mould wrote his last album, Blue Heart, as a protest record, ahead of the 2020 American election. As a basic rule, protest music works best when it's shared and experienced communally, where it can percolate and manifest in new, exciting disruptions. But 2020 wasn’t exactly a great year for gathering together.
Mould’s album landed in a world of cloistered listeners, so he never knew how it impacted people. For a musician from punk and hardcore scenes, it was a disquieting experience. So when he got back out on the road in 2023 and 2024, playing solo electric sets, the former Hüsker Dü and Sugar frontman was determined to reconnect with his listeners. After each show, he’d hang out at the merch table and talk. Some people wanted their records or shirts signed, some wanted a picture. Others shared dark stories and secret experiences connected to Mould’s work. It humbled and moved him. “I’m grateful for all of it,” he says.
These are the in-person viscera of a group of people connecting on shared interests, versus, says Mould, “‘I gotta clean the house today, so I’m going to put on my clean the house playlist that a computer designed for me.” “Everything has become so digitized,” he laments. “I grew up where music was religion, it was life, it was essential. When people come to shows, and there’s an atmosphere, there’s volume, there’s spilled drinks and sweat–that’s what music ritual is supposed to be.”
His experiences on tour after the pandemic heartened Mould, but they also gave him traction on new ideas and direction for a new record. He returned to the simple, dirty guitar-pop music that spiked his heart rate when he was young: the Ramones’ stupid-simple pop-punk ecstasy, New York Dolls’ sharp-edged playfulness, Pete Townshend’s epic, chest-rattling guitar theatrics. In other words, the sort of snotty, poppy, wide-open rock we heard and loved on Hüsker Dü’s Flip Your Wig and Candy Apple Grey.
Mould’s time on the road playing solo in 2023 sparked the idea for Here We Go Crazy.
Photo by Ryan Bakerink
Mould started writing new songs in the vein of his original childhood heroes, working them into those electric solo sets in 2023 and 2024. Working with those restraints—guitar chords and vocal melodies—put Mould on track to make Here We Go Crazy, his new, 15th solo record.
Lead single and opener “Here We Go Crazy” is a scene-setting piece of fuzzy ’90s alt-rock, bookended by the fierce pounding of “Neanderthal.” “When Your Heart is Broken” is a standout, with its bubblegum chorus melody and rumbling, tense, Who-style holding pattern before one of the album’s only solos. Ditto “Sharp Little Pieces,” with perhaps the record’s chewiest, darkest guitar sounds.
“It’s a very familiar-sounding record,” he continues. “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould,’ and a lot of that was [influenced by] spending time with the audience again, putting new stuff into the set alongside the songbook material, going out to the table after the show and getting reactions from people. That sort of steered me towards a very simple, energetic, guitar-driven pop record.”
Of his new album, Mould says, “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould.’”
Mould recorded the LP in Chicago with longtime bandmates Jason Narducy and Jon Wurster at the late, great Steve Albini’s Electrical Audio. Then Mould retreated to San Francisco to finish the record, chipping away at vocals and extra guitar pieces. He mostly resisted the pull of “non-guitar ornamentation”: “It’s a rhythm guitar record with a couple leads and a Minimoog,” he says. “It’s sort of cool to not have a 64-crayon set every time.”
Mould relied on his favorite, now-signature late-’80s Fender Strat Plus, which sat out on a runway at O’Hare in 20-below cold for three hours and needed a few days to get back in fighting shape. In the studio, he ran the Strat into his signature Tym Guitars Sky Patch, a take on the MXR Distortion+, then onto a Radial JD7. The Radial split his signal and sent it to three combo amps: a Fender Hot Rod DeVille, a Fender ’68 Custom Deluxe Reverb reissue, and a Blackstar Artisan 30, each with a mic on it. The result is a brighter record that Mould says leaves more room for the bass and kick drum. “If you listen to this record against Patch the Sky, for instance, it’s night and day,” he says. “It’s snug.”
Mould explains that the record unfolds over three acts. Tracks one through five comprise the first episode, crackling with uncertainty and conflict. The second, spread over songs six to eight, contrasts feelings of openness with tight, claustrophobic tension. Here, there are dead ends, addictions, and frigid realities. But after “Sharp Little Pieces,” the album turns its corner, barreling toward the home stretch in a fury of optimism and determination. “These last three [songs] should give us more hope,” says Mould. “They should talk about unconditional love.”
The record closes on the ballad “Your Side,” which starts gentle and ends in a rush of smashed chords and cymbals, undoubtedly one of the most invigorating segments. “The world is going down in flames, I wanna be by your side/We can find a quiet place, it doesn’t need to be the Albert Hall,” Mould starts. It’s a beautiful portrait of love, aging, and the passage of time.
Bob Mould's Gear
Mould paired his trusty Fender Strat Plus with a trio of smaller combo amps to carve out a more mid-focused rhythm-guitar sound in the studio.
Photo by Mike White
Guitars
- Late 1980s Fender American Standard Strat Plus (multiple)
Amps
- Fender Hot Rod DeVille
- Blackstar Artisan Series amps
- Fender '68 Custom Deluxe Reverb
Effects
- Tym Guitars Sky Patch
- TC Electronic Flashback
- Electro-Harmonix Freeze
- Wampler Ego
- Universal Audio 1176
- Radial JD7
Strings, Picks, & Power Supply
- D'Addario NYXLs (.011-.046)
- Dunlop .46 mm and .60 mm picks
- Voodoo Labs power supply
And though the record ends on this palette of tenderness and connection, the cycle is likely to start all over again. Mould understands this; even though he knows he’s basking in act three at the moment, acts one and two will come along again, and again. Thankfully, he’s figured out how to weather the changes.
“When things are good, enjoy them,” he says. “When things are tough, do the work and get out of it, somehow.”
- YouTube
Many of the tracks on Here We Go Crazy were road-tested by Mould during solo sets. Here, accompanied only by his trusty Fender Strat, he belts “Breathing Room.”
Seven previously-unheard Bruce Springsteen records will be released for the first time this summer with “Tracks II: The Lost Albums,” coming June 27.
A set spanning 83 songs, "The Lost Albums" fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist. “'The Lost Albums' were full records, some of them even to the point of being mixed and not released,” said Springsteen. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”
From the lo-fi exploration of “LA Garage Sessions ’83” — serving as a crucial link between “Nebraska” and “Born in the U.S.A.” — to the drum loop and synthesizer sounds of “Streets of Philadelphia Sessions,” “The Lost Albums” offer unprecedented context into 35 prolific years (1983-2018) of Springsteen’s songwriting and home recording. “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen explained. Throughout the set, that sonic experimentation takes the form of film soundtrack work (for a movie that was never made) on “Faithless,” country combos with pedal steel on “Somewhere North of Nashville,” richly-woven border tales on “Inyo” and orchestra-driven, mid-century noir on “Twilight Hours.” Alongside the announcement of “The Lost Albums,” a first look at the collection also arrives today with “Rain In The River” — which comes from the lost album “Perfect World,” and encapsulates that project’s arena-ready E Street flavor.
“The Lost Albums”will arrive in limited-edition nine LP, seven CD and digital formats — including distinctive packaging for each previously-unreleased record, with a 100-page cloth-bound, hardcover book featuring rare archival photos, liner notes on each lost album from essayist Erik Flannigan and a personal introduction on the project from Springsteen himself. A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD. “The Lost Albums” were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey.
For more information, please visit brucespringsteen.net.
Tracks II: The Lost Albums
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Bruce Springsteen - Tracks II: The Lost Albums Trailer - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The guitarist-of-all-trades runs us through his formidable live rig.
Rhett Schull’s a busy guy. Between being one of the most prolific YouTubers in the guitar sphere, working as a trusted hired gun, and creating his own original music, including last year’s EP The Early Days, he’s an avid cyclist. Just a week before we met up with Rhett at Eastside Bowl in Madison, Tennessee, for this Rig Rundown, he was slated to ride a 100-mile race in Stillwater, Oklahoma. Those plans were dashed when 70-mile-an-hour winds stoked a wildfire near town and burned just over 26,000 acres. But the show must go on: The next night, Schull played a gig in town, a special release for people reeling from a brutal natural disaster.
Schull’s a certified gear aficionado and tone wizard, so PG’s Chris Kies headed to Eastside Bowl to have him walk us through his current live rig. Check out the Rundown here, and stay tuned; Schull’s got more music coming later this year.
Brought to you by D’Addario.
Special Serus
Schull’s wife pointed out this Novo Serus J hanging on the wall of a guitar shop back in 2017, and it was love at first strum. Made from tempered pine and loaded with Amalfitano P-90 pickups, plus sporting an unmissable pink sparkle polyurethane finish, it’s a real looker, and one of Schull’s favorite guitars.
Third Man Thumper
After Schull did a video on the Fender Jack White Pano Verb amplifier, Fender sent him a Jack White Triplecaster Telecaster, part of his signature series of gear with Fender launched last year. Schull calls it one of the most versatile guitars he owns, with each of the three pickup options virtually splitting it into three separate guitars.
Firebird-Watching
This beauty from Gibson’s Custom Shop came to Schull following NAMM in 2020. On tour, he needs something with humbuckers and something with single-coils. Then, he thinks of what’s exciting him. These days, it’s this Firebird V, which doesn’t have a typical Firebird tone, but cuts closer to something like a Telecaster at times.
Rockin' Two With a Two-Rock
Schull runs two amps onstage, but he doesn’t run them in stereo; he believes the stereo image doesn’t translate as well in a live situation where listeners are spread across the speaker system’s field. With this Two-Rock Classic Reverb Signature and an AC15-ish David Edwards Apollo, Schull gets a “broadband” sound set for big, fat clean tones, like one giant amp on the edge of breakup.
Fun fact: Edwards surprised Schull with the Apollo when Rhett went to Florida to work on some videos.
Rhett Schull's Pedalboard
Schull’s 2024 EP is very effects-heavy, so he commissioned the pedalboard-whisperers at XAct Tone Solutions to build him this double-decker station based around an RJM Mastermind PBC/6X switcher. Some of the stomps, like the Chase Bliss Mood, are activated by MIDI, and all the different sounds from each song—from intro to chorus to bridge to finish—is set up in the RJM. If Rhett wants to go off script, he can hit the function button, which lets him engage pedals on a one-by-one basis. A Line 6 HX One is a “wildcard” pedal in this rig, filling in gaps as needed.
In addition to those machines, the rig includes a Chase Bliss Dark World, GFI System Synesthesia, Hologram Electronics Chroma Console, Boss Space Echo RE-202, GFI System Duophony (which mixes the Dark World and Synesthesia), Chase Bliss Automatone Preamp MkII (used for boost, EQ, fuzz, or overdrive depending on the song), Old Blood Noise Endeavors Beam Splitter, Source Audio ZIO, Memory Lane Electronics Tone Bender clone, and a Mythos Argonaut. A mysterious Japan-made Noel dirt pedal, finished in striking red and gifted to Shull by JHS Pedals’ Josh Scott, rounds out the collection. Utility boxes include a TC Electronic PolyTune3 Noir, Lehle Little Dual, a pair of Strymon Ojai power supplies, and a bigger Strymon Zuma supply.
Sterling by Music Man introduces the Joe Dart Artist Series Collection, featuring the Dart I, II, and III basses.
The original Dart I features the Sterling-shaped body with a single humbucker and volume knob. The Dart II, featuring the beloved Ernie Ball Music Man Caprice body, swaps the humbucker fortwo single-coil pickups, each with its own volume knob for precise, hum-free control. Completing the trilogy, the Dart III is a short-scale StingRay bass with a split single-coil pickup and single volume knob.
A blank canvas, the bass collection embodies the no-frills philosophy of the original Ernie BallMusic Man design—everything you need and nothing you don’t. All three basses are equipped with passive electronics, Ernie Ball flatwound strings, and are available in Natural or Black finishes. No tone knobs here.
“Jack Stratton and I are thrilled to team up once again with Sterling by Music Man to build affordable versions of the three best basses I've ever held in my hands. The JoeDart I, II, and III represent three different sounds and feels, three different eras of bass,and three different shades of my own work as a bassist,” said Dart. “The feel of these instruments is incredible, and the quality would be remarkable at any price point.”
This is a special “Timed Edition” release, only available for pre-order on the Sterling by MusicMan website for two months. Each bass is made to order, with the window closing on May 31st and shipping starting in September. The back of the headstock will be marked with a “2025Crop” stamp to commemorate the harvest year for this special, one-of-a-kind release. A gig bag will be included with each purchase.
All basses are priced at $499.00
For more information, please visit sterlingbymusicman.com.