Christie’s will auction Jeff Beck: The Guitar Collection on January 22, 2025, in London. See the highlights.
Jeff Beck (1944-2023), was a trailblazing guitar icon and legend. A multi-Grammy award-winning artist – twice inducted into the Rock & Roll Hall of Fame – his inimitable sound led to collaborations with countless internationally renowned musicians and friends including: Jimmy Page, Jimi Hendrix, Ronnie Wood, Rod Stewart, Steven Tyler, Billy Gibbons, Jan Hammer, Eric Clapton, David Gilmour, Tina Turner, Mick Jagger, BB King, Buddy Guy, Nile Rodgers, Carlos Santana, Stevie Wonder, Imelda May and Johnny Depp, amongst others.Providing a remarkable opportunity for fans, guitarists and collectors, this unique sale comprises over 130 guitars, amps and ‘tools-of-the-trade’, which Jeff played through his almost six-decades-long career, from joining The Yardbirds in March 1965, to his last tour in 2022. With estimates ranging from £100 to £500,000, highlights will be on public view in Los Angeles from 4 to 6 December, followed by the full collection being on show in the pre-sale exhibition at Christie’s headquarters in London, from 15 to 22 January 2025.
Sandra Beck: “I hope you enjoy reading through this catalogue featuring the tools of my Gorgeous Jeff’s life. These guitars were his great love and after almost two years of his passing it's time to part with them as Jeff wished. After some hard thinking I decided they need to be shared, played and loved again. It is a massive wrench to part with them but I know Jeff wanted for me to share this love. He was a maestro of his trade. He never lusted after commercial success. For him it was just about the music. He constantly reinvented himself with his musical direction and I could not single out one person, one recording or one guitar as his favourite. I hope the future guitarists who acquire these items are able to move closer to the genius who played them. Thank you all for considering a small piece of Jeff that I am now hoping to share with you.”
COLLECTION HIGHLIGHTS:
The sale is led by one of Jeff Beck’s most recognisable guitars – his iconic 1954 ‘Oxblood’ Gibson Les Paul, famously depicted on the cover of his seminal 1975 solo instrumental album Blow By Blow, and used on tracks including the Beck-Middleton original composition ‘Scatterbrain’ (estimate: £350,000-500,000). Purchased in November 1972 in Memphis, the guitar saw extensive live action with the short-lived power trio Beck, Bogert & Appice in 1973. Other notable live shows through the 1970s included his performance alongside David Bowie and Mick Ronson at the farewell show of Ziggy Stardust & The Spiders From Mars, at the Hammersmith Odeon on 3 July 1973, the film of which was released in 2023, including Jeff’s iconic guest appearance.
The original ‘Yardburst’, Jeff Beck bought his circa 1958 Gibson Les Paul in London in 1966 whilst in the seminal British rock group The Yardbirds (estimate: £40,000-60,000). The history and battle scars of this guitar are legendary. Purchased at Selmer’s in Charing Cross for £175 in early 1966, it was used to record ‘Over Under Sideways Down’ and ‘Happenings Ten Years Time Ago’ on The Yardbirds’ album Roger The Engineer, as well as Jeff Beck’s solo track ‘Beck’s Bolero’, co-written with Jimmy Page and recorded with Keith Moon, John Paul Jones and Nicky Hopkins. Jeff removed the black pickguard, switch surround and the original sunburst finish in late 1967, leaving the guitar in its natural raw blonde state. Jeff played the guitar on his debut studio solo album Truth, the first to showcase the talents of backing band the Jeff Beck Group, featuring a young Rod Stewart on vocals and Ronnie Wood on bass, and on tour when the band crossed the Atlantic in 1968, including for a memorable residency at the Scene in New York in June 1968, where nightly encores saw Jimi Hendrix join the band on stage, including for a jam on this very guitar.
The ‘Tele-Gib’ is a hybrid guitar put together by world-renowned pickup designer Seymour Duncan specifically for Jeff Beck in 1973 (estimate: £100,000-150,000). Comprising a Fender Telecaster body and neck with a pair of Gibson PAF humbucking pickups removed from a Flying V, Seymour took the guitar to Jeff whilst he was rehearsing with Beck, Bogert & Appice in London in late 1973. The Tele-Gib can be heard on the beautiful Stevie Wonder track ‘Cause We’ve Ended As Lovers’, from Blow By Blow, and was subsequently used for many other sessions and live performances, including The Secret Policeman’s Other Ball in 1981, alongside fellow former Yardbird, Eric Clapton.
Jeff Beck’s 1954 Sunburst Fender Stratocaster, serial number 0062, was one of his most prized possessions (estimate: £50,000-80,000). A gift from Humble Pie’s Steve Marriott following a late-night session in 1976, Jeff replaced the existing Tele neck with a 1958 Strat neck, which he had used to record many tracks on Beck-Ola (1969), Rough And Ready (1972) and Blow By Blow (1975). The ’54 would become Jeff’s principal performance and recording guitar for the rest of the ‘70s and into the early ‘80s – including for the majority of the 1980 album There And Back, and the A.R.M.S. Benefit Concert and tour in 1983, which saw the three ex-Yardbirds guitarists perform on stage together for the first time – Jeff Beck, Jimmy Page and Eric Clapton – alongside The Rolling Stones Charlie Watts, Bill Wyman and Ronnie Wood and many other world-famous musicians.
‘Tina’ the Pink Jackson Soloist was debuted during the 1983 A.R.M.S. tour, at Madison Square Garden in New York City (estimate: £8,000-12,000). Fitted with a patented Kahler bridge, it enabled Jeff to deliver even more extreme string bends and harmonics and was immediately employed on several important recording sessions with world-renowned artists, most notably Tina Turner. Having lent his unique talents to her Mark Knopfler-written single ‘Private Dancer’, Jeff requested that she sign his guitar in lieu of payment for the session. When the pen failed, she engraved her signature with a flick-knife and then rubbed in green nail varnish for good effect. Jeff would go on to play the guitar on his 1985 album Flash, produced by Nile Rodgers, including for his reunion duet with Rod Stewart, ‘People Get Ready’.
The longest-serving of his Fender White Stratocasters, ‘Anoushka’ was master built by J.W. Black of the Fender Custom Shop (estimate: £20,000-30,000). Jeff modified his Strats – the model he referred to as ‘another arm’ – switching necks, bodies and electronics to suit his needs. The neck of this guitar was Jeff’s favourite and, when united with the present white Strat body he named ‘Anoushka’, became his primary recording and performance Strat for 16 years. It was used to record four solo albums and for hundreds of live performances, including much of Jeff’s legendary Ronnie Scott’s residency, his second induction into the Rock & Roll Hall of Fame, a co-headline tour with Eric Clapton, and for his performance at the Obama White House alongside B.B. King and Mick Jagger in 2012.
- Mod Garage: The Jeff Beck Guitar Files ›
- Jeff Beck — “Blues to the Maximum” ›
- Jeff Beck and the Magic Volume Knob ›
Take it from English cyclist Sir Dave Brailsford: With an all-encompassing approach to improving the marginal aspects of your methods, you can get quite the payoff on the quality of your endeavors. And that goes for recording, too.
Technology is a strange bedfellow in the arts. We’re either dazzled or disenchanted, love it or hate it, and the drive behind it all is a relentless need to gain a slight competitive edge on our own creativity—at least that’s how I think of it. Last month I wrote about the benefits of using a modeling microphone on a single source. This month, I want to expand that to a larger format.
Recently, I did a live recording and mixing masterclass with Universal Audio, Guitar Center Pro, and the Blackbird Academy back in Dallas, Texas (my hometown). The format: Record a live performance of a band including acoustic, electric, bass, and drums, plus vocals with additional synth tracks, and then immediately pivot to mixing in the box—all in front of a live audience. In addition, I also wanted to do something very different. I wanted to use modeling mics to record the drum kit and simultaneously use them without modeling for the live performance. My hope was that later during mixing, I would compare and contrast to see if I could get more of a “studio” sound.
There are many modeling microphone choices on the market today, mostly made by Slate, Antelope, and Universal Audio, ranging in list price from $129 to $1,500. For this masterclass, I used UA’s Standard Microphones with Hemisphere Modeling (starting at $129).
Live vs. Studio
Now for those of you that read my Dojo offerings regularly, you know I always emphasize mic placement as well as using as little EQ and dynamics processing as possible. In short, always start by taking as much time as you can to adjust the mic to get the best sound possible before reaching for the EQ knobs on any sound source. If you have more than one mic to choose from, switch mics and listen. Are you getting closer to the sound(s) you want?
After making sure the band was totally happy with their monitor mix and things sounded good in the house, the show began. To ensure that the tracks would be as clean as possible, I recorded the performances into my DAW with no modeling, EQ, or dynamics on the drums (or for the rest of the band). I did use some EQ and a little bit of dynamic control for the live show to keep the vocals out in front of the band.
The drum layout was as follows:
• Overheads: two SP-1s (spaced pair)
• Two rack toms and floor tom: three SD-7
• Kick drum: one SD-5
• Snare: one SD-3
Marginal Gains
Once I got the drum kit balanced in volume, I proceeded to bring in a pair of Neumann KH 310 monitors so the masterclass participants could hear what tracks sounded like in a more “studio” mix environment. I cycled through the various modeled mic profiles to hear the differences until we all reached a consensus as to which model worked best for each specific drum in the kit. (My picks: Neumann KM 54 for overheads, cream-colored Sennheiser MD 421 for toms, AKG D12 for kick, and SM57 for snare.) I could then toggle on and off all the profiles at once and hear a completely modeled-mic drum kit as opposed to the “natural” one. The results definitely raised some eyebrows and proved the efficacy of the “aggregation of marginal gains.” This term was coined by Sir Dave Brailsford, who catapulted British Cycling to legendary achievements and wins by choosing not to focus on big gains in a single area, but rather highly detail-oriented marginal gains in many areas (“The 1-Percent Factor”). Thus, by using seven modeled mics on the kit, the composite result was noticeably more flattering than without, and a more polished “studio” sound was achieved.
“Always start by taking as much time as you can to adjust the mic to get the best sound possible before reaching for the EQ knobs on any sound source.”
You may be asking, “Did the mics sound good in the house without any modeling?” Yes! I found them to be equally on par with the standard “live mic” stalwarts we all know. Now, this isn’t a review of the microphones as much as what I mentioned at the beginning—that technology can offer us unique possibilities if we start thinking outside conventional norms and use products outside their primary design. Look around your studio right now, or think about the gear and instruments you have. Can you challenge your creativity and try something new? Can you embrace the 1-Percent factor?
As for me, my next recorded live gig will very likely be with modeling mics!
Until next time, namaste.
The tiniest TS on Earth has loads of practical upside and sounds that keep pace with esteemed overdrive company.
Solid Tube Screamer tones in a microscopic machine. Light and easy to affix to anything.
Small enough to lose easily! Vulnerable in the presence of heavy steppers?
$99
Olinthus Cicada
olinthus.com
The Olinthus Cicada’s Tube Screamer-on-a-postage-stamp concept is a captivating one. But contemplating the engineering impetus behind it begs questions: How much area does the pedal and mandatory/included TRRS breakout cable actually conserve? Where do you situate it in relation to other pedals so you can actually tap the bypass—which is the pedal enclosure itself! Would my neighbor’s cat eat it? As it turns out, there’s many good reasons for the Cicada to be.
For starters, small size and light weight on this order are a big deal. Flying with gear is stupid expensive. So, for players that don’t relish the antiseptic aspects of modeling, this micro-analog middle path could be a sensible one. Altogether, pedal and cable are about the size of a set of keys. You can stuff it all in a pocket, put clean laundry in your gig bag, and tour for a while, as long as the rain doesn’t soak your shoes.
All this assumes you roll with very small and very few additional effects. But if you can survive on overdrive alone, you can stick a little adhesive to the back—tape, Velcro, bubblegum, etc.—and affix the Cicada to almost anything. It sounds really good, too! A classic TS application—Fender combo and Stratocaster—yields soulful blues smoke. The same Fender amp and an SG means dynamite, raunchy, and rich Mick Taylorisms. It even does the Iommi stomp pretty well at high gain! I’m still not sure if the Cicada is a solution for a less-than-pressing engineering problem. Nevertheless, it opens up real practical possibilities and sounds more than legit in the process.
Featuring a slim Headlock system, water-resistant shell, and spacious front pocket. Available in classic Black and Ash, as well as new colors Moonlight Blue, Amazon Green, and Burnt Orange.
This brand new design reimagines and elevates the original to new heights, featuring a fresh range of colors and a refined slim Headlock system. The enhanced MONO Sleeve is engineered for durability, featuring industrial-grade webbing handles reinforced with steel rivets and bar-tack stitching, a water-resistant 420D shell, and plush interior lining. A spacious front pocket offers easy access to essentials like cables, tuners, and other gear, while the ergonomic shoulder straps ensure comfort during long-distance commutes. Sleek and compact, the MONO M80 Sleeve 2.0 is the perfect choice for guitarists on the go.
To bring the MONO M80 Sleeve 2.0 to life in the launch campaign, MONO collaborated with renowned guitarist Rock Choi from Seoul, South Korea, known for his bold and precise playing style, and Susannah Joffe, an emerging indie-pop musician from Austin, Texas, USA. Together, the artists showcase the M80 Sleeve 2.0 in a dynamic video set in New York City, demonstrating how effortlessly the case integrates into the urban lifestyle while offering superior protection for their instruments.
The updated Sleeve 2.0 is available in classic Black and Ash, and for the first time in MONO’s history, debuts a range of new colors: Moonlight Blue, Amazon Green, and Burnt Orange, giving artists fresh avenues to express themselves through their gear.
The MONO M80 Sleeve 2.0 features include:
- An ergonomically designed case that is sleek and suited for urban travel, along with comfortable shoulder straps and a tactile side handle for easy carrying.
- A water-resistant 420D shell and plush interior lining, built to military specs and extreme resistance to abrasion and the elements.
- A slim Headlock system, made from shock-absorbing EVA rubber, secures the guitar's neck and headstock, while the EVA insole protects the body and strap pin from impact.
- A spacious front pocket for essentials like laptops and cables, and a small interior mesh pocket for critical items.
- Side-release chest buckles provide added security and a construction reinforced with steel rivets for extra durability.
- Rock-solid, industrial webbing handles that are standard in MONO cases. Bar-tack stitching and steel rivets reinforce strength, while high-grade webbing offers a comfortable grip.
- String guard protection to safeguard your guitar’s strings.
Does the guitar player’s mind have the patience and focus of a classical musician, or are we on another tip altogether?
The first time I really played music was in fourth grade in my elementary school orchestra. Although I played terribly and was just one tiny cog in a huge musical machine—second to last chair in the second violin section out of 30 kids—being part of these incredible, interwoven melodies was a genuinely moving experience, regardless of how bad it must have sounded. But despite the personal history, classical musicians are a bit of a mystery to me, and probably most guitarists.
Firstly, classical music is too much work.
Great guitarists all have worked their asses off to master their instrument. But the most dedicated guitarists probably won’t put in half as much hard practice time as classical players. I first noticed this when I was touring with my friend and former bandmate Robert Martin—who’s worked with Frank Zappa, Stevie Nicks, Etta James, Bonnie Raitt, and lots of others. We could be in Venice with a free day to explore, and Robert would lock himself in a room with his French horn to practice. On the gig, he wasn’t even playing French horn, just piano and sax, but he carried that thing with him around the world because he had to get his lips on that horn daily. It was somewhere between a compulsion and rigid dedication. Robert told me he had been on this schedule since 1969, when he entered the Curtis Institute of Music, where he undertook intensive classical studies.
On Quora, I found a conversation around the question, “How much do professional musicians practice every day, or does performing take the place of practice?” Only classical musicians responded. The consensus was that orchestral musicians need to practice all the time to play at their absolute best. For symphonic violinists, the practice minimum seems to be three hours daily, but it’s not uncommon for violinists to practice eight hours per day and they rarely take a day off.
Sasha Romero, the principal trombonist in the MET Opera Orchestra, posted on the forum about her typical day. “I usually warm up/practice fundamentals for 30–60 minutes before starting a 2.5-hour rehearsal. Depending on the rep, I may play 5 minutes of that or pretty much every measure (trombones still have far fewer notes than string players). There’s often a second 2.5-hour rehearsal after lunch. After I get home, I might have one more hour-long practice session where I work on an upcoming rep or a recital or whatever is in the near future.”
On her lightest weeks, she posted that she practices about one-and-a-half hours minimum, and four hours max, every day. I could not imagine the misery of four hours alone in a room playing trombone scores. Lots of counting, a bit of monophonic blowing. Torture.
Ever notice when you walk into a venue to see an orchestra, they are all seated practicing right up until the conductor walks out? I always think, “The curtain is up. We can see you. If you don’t have it by now, just go with what you’ve got.” Meanwhile in the world of guitar, half the band is joking around or slugging down drinks right until curtain.
“I could not imagine the misery of four hours alone in a room playing trombone scores.”
Guitarists play what we want when we want. Yes, hard practice is part of the guitar journey, but even a raw guitarist, only playing for a short time with no formal training can play something that connects on the deepest level.
Second: Classical music limits your expression.
Classical players color in the lines. Their contribution to a composition, as one player on the forum put it, is that “the depth of color is up to you.… If Beethoven wants pianissimo, I must play the softest, most spine-tingling pianissimo anyone ever heard!”
Guitarists outside the classical world have carte blanche to do whatever they want. As Eddie Van Halen said: “You’ve only got 12 notes, and however you mix them up is your thing.” In our world, the most revered guitarists are players like Django Reinhardt, Wes Montgomery, Jeff Beck, and EVH. They are celebrated because they went where no one had gone before.
Guitar is a very personal instrument. We are all influenced by others, but ultimately, all guitarists have their own thing. If 10 guitar players lay down a track for a new song, you will get 10 wildly different interpretations.
The vast majority of my 10,000-plus hours were spent having fun, or, as SRV put it, “trying to pray through my guitar.” Guitar remains my therapist, entertainment, companion, and an expression of self. Classical musicianship feels more like servitude to me. Guitar feels like freedom. Classical feels like religion. Guitar feels like spirituality. I’m not knocking either one, but we know who our tribe is.