
When a guitar collector dies, a collection gets passed on and begins a new life. Here’s one collection’s story.
I’ve been in the guitar business in the same city for many decades. One of the advantages of that is I get to see a lot of great instruments we sold years ago come back again. One of the disadvantages is that many times those instruments are returning because an old customer has died or become too frail to play them. All of us who deal in used and vintage guitars love to see great gear, especially when it’s been well cared for. But when I not only recognize the guitars but also remember the owner, the opportunity to sell their instruments a second time is bittersweet.
When dealing with a collection of instruments from an estate, it’s often obvious that the family members who have inherited our old customer’s gear didn’t really understand the “guitar-life” of their deceased relative. If they don’t play and if the collection includes more than a few instruments, the benefactors of the inherited gear often consider the collection kind of a bother. An 80-year-old Gibson or Martin, for instance, often doesn’t look like much, especially if it’s seen a fair amount of wear. The comments are telling and often include some variation of “I just never understood why they needed so many guitars!” However, when relatives find out what the collection they’ve been stuck with is worth, that attitude often changes.
Back in the 1980s and ’90s, we had a regular customer named Jimmie who was one of our favorite Saturday guys. It was clear he visited other Bay Area guitar shops as well. He wasn’t attracted to instruments in mint condition, partly because he didn’t want to pay the higher prices, but mostly because, as he put it, “I like to see some wear; then I don’t worry if I add a little more of it.” Jimmie wasn’t a great musician and never gigged, but he knew his way around a guitar neck and never resorted to “Blackbird” or “Stairway to Heaven” when trying out guitars. We hadn’t seen Jimmie in at least 20 years—retirement and failing health had taken their toll—but I recognized some of his instruments when a middle-aged guy and his teenage daughter brought in several guitars for appraisal. Our old customer was their Uncle Jimmie. The nephew, who looked like a former GQ model, made it obvious the family considered their uncle little more than a loveable loser with no family and no nice cars or furnishings. All he’d left them was just guitars in tattered cases and box after box of records and CDs.
“My uncle loved to chase after guitars,” GQ nephew said wryly.
“And he played the ones he caught,” I added, pointing out the recent refret on Jimmie’s beloved 1930s Gibson L-00.
Jimmie purchased most of his instruments well before the 21st century run-up in prices and before well-worn guitars became so popular that guitar makers began offering distressed finishes. He bought his ’50s Telecaster, for instance, when only country pickers played Teles, and he’d picked up a pre-war Martin 000 back when everybody wanted dreadnoughts. Jimmie had scribbled the purchase date and price of almost all his guitars on a now-faded, well-folded sheet of paper, which his nephew shoved in my direction.
“I thought this might help,” he commented.
After looking at the guitars briefly, I made a copy of Jimmie’s inventory and wrote a rough estimate of each instrument’s current value in the righthand column.
“Your uncle made some wise purchases,” I pointed out. Indeed, several of Jimmie’s guitars were now worth 10 times what he’d paid for them. Others, such as his Martin archtop and a few later acquisitions, had appreciated more modestly.
GQ nephew’s eyes bulged when he looked at my estimates. He added up the numbers on the right side of the page very quickly and processed the fact that poor old Uncle Jimmie had left his family an accumulation of instruments worth well into six figures. His daughter looked over her dad’s shoulder but was less impressed, instead asking if she could have the Gibson L-00. “Uncle Jimmie called that little Gibson his couch guitar,” she said wistfully. “He loved the sunburst and always had it handy. Hearing him play it was what got me hooked on playing guitar. That’s what he played when he gave me my first lessons.”
When her father suggested she might want one of Jimmie’s better guitars—meaning one that was worth more—she seemed unimpressed with the offer. Like her uncle, she didn’t measure guitars in dollars.
I’d like to think her Uncle Jimmie was smiling, although from where I have no idea. And it wasn’t because his status in the extended family had taken a quantum leap with the surprise value of his musical gear, his smart investments coming up in the future whenever his name was mentioned. Instead, what probably tickled Jimmie was that his grand-niece was obviously going to have a guitar-life of her own, and his favorite guitar was going to be played.
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Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackWith a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Georgia-born, Nashville-based roots-rock outfit Larkin Poe have had a busy year. Last summer, they toured across the U.S. supporting Slash, and released their seventh studio album, Bloom, on January 22. With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Lovells grew up reading sheet music and learning violin via the Suzuki method—there was little room for going off the beaten path until they fell in love with Jerry Douglas’ dobro playing on Alison Krauss records. Rebecca took up the mandolin, while Megan went for the dobro and the slide side of things. It took a while for them to get comfortable turning up from their bluegrass roots, but eventually they built Larkin Poe’s amplified, blues-rock sound.
First up, Rebecca, playing a pristine ’60s SG, shows how she put together her stinging, fuzzy solo by “hunting and pecking out” melodies in her mind, building up the chops to follow her intuition. Then Megan, playing a Rickenbacker-inspired lap steel of her own design through a Rodenberg TB Drive, details her dizzyingly fast slide acrobatics, and her particular “rake” technique that she copped from Jerry Douglas and Derek Trucks.
Tune in to hear them talk about how to sustain family relationships while going professional, keeping music community-minded, and whether or not they’ll go back to bluegrass.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
An ’80s legend returns in a modern stompbox that lives up to the hype.
A well-designed recreation of one of the most classic tone tools of the ’80s. Sounds exactly like the tones you know from the original. Looks very cool.
If you don’t like ’80s sounds, this isn’t for you.
$229
MXR Rockman X100
Was Tom Scholz’s Rockman the high-water mark of guitar-tone convenience? The very fact that this headphone amp, intended primarily as a consumer-grade practice tool, ended up on some of the biggest rock records of the ’80s definitely makes a case. And much like Sony’s Walkman revolutionized the personal listening experience, it’s easy to argue the Rockman line of headphone amps did the same for guitarists.
MXR Rockman X100 Recreates Tom Scholz's Iconic Boston Guitar Sound | First Look
But just as decades of advances in listening technology make the Walkman now seem clunky and dated, modern guitar tech makes the Rockman look like old news. Multi-effects units, modelers, and portable interfaces all surpass the convenience of the Rockman in form factor as well as in sheer number of sonic options. But while there are any number of ways to dial up an ’80s-style guitar tone these days, nothing’s better than the real thing. The Rockman’s analog tones are still as legit as it gets. Though Dunlop continues to produce the Guitar Ace, Metal Ace, and Bass Ace headphone amps (for a cool $99 street), a pedal version with the functionality of the original would be the ultimate modern package for ’80s fetishists, right? Enter the MXR Rockman X100.
With Tones Like These, Who Needs Options
After the release of the original Rockman, Scholz continued to develop the product, spawning a whole line. But for its pedal resurrection, the MXR team set their sights on the Rockman X100, which used hard-clipping LED diodes for its two distorted settings. The new stompbox version recreates all four modes from the original: cln2 is the default setting, cln1 in the second position is EQ’d with a mid-boost, edge delivers moderate clipping, and dist is high-gain. All are switchable via a small LED-lit mode button, and a control input allows for external mode switching. Another button activates an analog chorus circuit using MN3007 bucket brigade chips, as in the original.
To drive home the ’80s aesthetic, MXR used sliders for volume and input gain controls. Volume determines output, while input gain is tied to compression. Higher input gain means more compression, which is tuned for slower release on the two clean modes, and a fast release on both dirty modes. The X100 works in both mono and stereo, but to change between them, you have to pop off the back to access an internal switch. Just make sure a TRS cable is used for stereo mode, or else the output will be muted while the pedal is bypassed.
The only things I noticed that are missing from the original’s simple set of features is the headphone output and the echo settings. I don’t know how many players would find value in the headphone jack, and considering that would add circuitry, it’s probably best for cost and space savings that it was excluded. As for the echo, you can argue that it’s canon, but I find it to be the least essential feature and don’t miss it, personally.
(Much) More Than a Feeling
Since I do not have an original Scholz X100 sitting on my desk, I’m using YouTube videos and records—Def Leppard’s Hysteria, Huey Lewis and the News’ Sports, and Joe Satriani’s Surfing with the Alien, for example—as my reference points. Those are high bars to clear, and the MXR gets there.
The default cln2 setting delivers instant gratification, with a full-bodied, sparkly tone, no matter what guitar I played through it. And though it provides loads of ’80s fun, it’s much more versatile than that, offering a great all-round clean tone that requires no additional processing. Though it might seem odd that cln2 is the default, switching to cln1’s thinner, more mid-focused sound makes the design decision clear. I can imagine situations where I’d need to cut through a mix and cln1 would be preferred, but I found myself sticking with the default mode for all my clean needs.
The distorted modes are differentiated mostly by how much gain they offer. Edge tones live just beyond the point of overdrive, and the input gain control adds a range of extra texture. The dist mode is full-on, pick-squeal-inducing high-gain saturation, with loads of everlasting sustain. These modes lean into the aesthetic much harder than the clean modes, making it a less versatile tool, but for ’80s rock excess, I can’t imagine a better option.
On a couple recording sessions, I plugged the X100 right into an interface and board to deliver spanky direct clean tones as well as tight, saturated distortion. In doing so, I discovered that direct recording is my preferred use for the X100. That’s not to say it doesn’t sound great through an amp—it does. But plugging into a front end of an amp yields less classic and authentic Rockman sounds, as the amplifier’s preamp colors the tone. Plugged through a few Fenders, I found that the treble needed taming, a problem I didn’t have when forgoing the amp. For live playing, I might explore plugging the X100 into the return input on an amp’s effects loop or right into a powered speaker to deliver an unadulterated Rockman sound more in line with the original.
The Verdict
MXR nailed it with the Rockman X100 pedal by focusing on the limited options of the original unit and getting them just right. For $229, you not only get a great ’80s rock tone, you get what is arguably the ’80s rock tone, with no other gear required, unless you want to add a little ’80s-vintage reverb too. As a performance tool, it’s probably best to think less like you’re using a pedal and more like you’re using the original in a different form, which is to say that plugging straight into an amp isn’t the only way to get the sound you want—and, in fact, it’s probably not even the best way. For recording, it’s a perfect tool. PG
The legendary Louisville rockers brought tons of vintage tone tools on the road this year.
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
EarthQuaker Devices host Echo Reverb Pedal
ISP Technologies DECI-MATE Micro Noise Reduction Pedal
Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
Fender Custom Shop Stratocaster