One Simple Tip That Will Maximize Your Guitar’s Value at Trade-In Time
Believe it or not, you can boost the value of your instrument by making everyone's life a little easier … and cleaner!
There's an overwhelming amount of activity in the guitar market these days, and the sheer amount of demand has left some manufacturers struggling to keep up. But rather than wait around for stores to re-stock, more and more customers are shopping for used and vintage guitars. You might wonder, where do all those used guitars come from?
A simple explanation is that the pandemic taught everyone that if they haven't been playing a particular instrument in the last 18 months, they probably never will, so it goes on the market. But making the transition from guitar buyer to guitar seller is difficult for some people to navigate, and sellers frequently ask me how they can get the most for their guitar. Whether it's a year-old budget model or a classic reissue they've had for a decade or more, my answer is usually the same. And it doesn't matter if you're selling a guitar privately or trading it to a guitar shop to get something else. You'd be surprised what you can do to maximize your return, often in as little as 15 minutes.
So, here's the tip: Clean up your guitar. Use some guitar polish and fretboard cleaner, and put on a fresh set of strings. Voilà!
The steady demand for new instruments with a distressed finish might convince you that people don't care about the grunge on the neck of the guitar you're about to sell or trade, but you'd be wrong. Think of it this way: People buy new jeans with holes in the knees, but they don't buy jeans that somebody wore holes through and never washed. Wear is one thing—lots of us like the broken-in look. In fact, new violins finished to look like they were old were popular over a century ago. But wear from use isn't the same as dirt—especially personal dirt.
The steady demand for new instruments with a distressed finish might convince you that people don't care about the grunge on the neck of the guitar you're about to sell or trade, but you'd be wrong.
Guitars get handled, no doubt about it, and if you're playing one a fair amount, you've probably left some "signs of use" on the neck that aren't just fret wear. How about the pickguard, and where your right arm goes over the top? Those practice sessions on the patio last summer were a lot of fun, and it was too hot to wear a long-sleeve shirt. But when you were finished, you took a shower and the sunscreen and sweat went down the drain. Too bad your guitar didn't have that option!
When a salesperson sees a potential trade-in with a clean fretboard, a fresh set of strings, and the finish has at least been wiped down, they get a far better first impression that's to your advantage.
Hot tip: If your guitar looks like this, clean it up before selling it.
As a seller, you want your potential buyer to concentrate on sound and playability, and not be distracted by the tell-tale signs of a previous owner. And while trading an instrument in may not feel the same as selling it, that's still what you're doing. Don't assume the shop doesn't mind cleaning your personal dirt off the instrument you're trading in. Most guitar shops are stretched to the limit in terms of staff, and the time they will have to spend cleaning up a trade-in is time that could be spent doing something more profitable. Plus, catching up on someone else's deferred guitar maintenance isn't a very rewarding task.
And what about the case? Don't forget that it's part of the package! It might have been humorous and touching when your favorite cat curled up in your open guitar case—and the photo garnered lots of likes on Instagram—but get out the vacuum and clean up the cat hair before you head to the guitar store hoping for a good trade-in.
A hard-travellin' image may be what you strive for when playing the blues onstage, but a squeaky-clean impression will probably result in more money in your pocket when it's trade-in time.
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The Hi/Low footswitch is designed to provide a gain boost with an EQ shift for tight tones.
Now featuring enhanced functionality, along with a new and improved look, the Dutch Overdrive ‘24 offers versatility in a pedalboard-friendly package.
The Dutch Overdrive retains its ability to cover a broad range of musical styles, from transparent clean tones and edgy breakup to medium-gain blues, hard rock rhythms, and searing leads. Delivering a perfect blend of classic American and British sounds, its smooth, balanced voice ensures compatibility with a wide variety of instruments and amplifiers.
In addition to a familiar four-knob control set – controlling drive, treble, bass and output level – the new Dutch ’24 offers a potent Hi/Low mode selector controlled by an independent footswitch. By engaging the Hi gain mode, you can add a preset, carefully tailored EQ/gain boost to provide just the right amount of punch, clarity, and output level to your solos.
Key features and upgrades to the Dutch Overdrive include:
- Hi/Low footswitch provides a gain boost with an EQ shift, enhancing added gain and focusing the midrange for tight tones
- A refreshed design for a modern aesthetic, with top-mounted input/output jacks
- Upgraded soft touch switching with last state memory – powers up with the same settings you were using when you previously powered down
- 9-18 volt operation using standard external supply (no battery compartment)
- US-made in Mesa, AZ
The re-release of the Dutch Overdrive brings back a classic with modern improvements. The street price for the upgraded Dutch Overdrive is $225 and is now available for purchase at lpdpedals.com.
The country music guitar slinger dishes on building chops in bluegrass, his mandolin and guitar heroes, and how he finds his tones.
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Rhett and Zach are joined on this Dipped In Tone by country and bluegrass aficionado Andy Wood. Wood grew up in Knoxville with Appalachian bluegrass musics shaping his view of the world, and even though he’s celebrated for his guitar playing, he reveals that he didn’t pick up an electric until he was 17.
Mandolin was his home turf, where lightning-quick alternate picking was the norm rather than a shredding strategy—there’s no “nuclear arms race of chops” in bluegrass, Wood reveals. The real key to playing fast? Simply learning songs. Because of the different approaches, Wood shares how to spot an electric guitar player who started on bluegrass. Wondering where to start with American roots music? Wood has you covered there, too.
When he finally got around to guitar, Wood studied the playing of Nashville session weapons like Brent Mason alongside players like John Petrucci. Now, Wood throws an annual four-day retreat for guitar players called the Woodshed Guitar Experience, where you can learn from some of music’s greatest modern players.
Plus, learn about how Andy catches great electric tones in the studio, and stayed tuned for his new solo record, Charisma, which launches on August 9.
Developing good, clean workshop practices will help you save time and money.
Who doesn’t like a sweet, sustaining, saturated guitar sound? I know I do, but I also love a clear and full clean tone maybe even more. Dirty or clean, to me a guitar sounds like a million bucks when the tubes are glowing and the playing flows. But most of the time I’m in the workshop making lots of dirt, and I don’t mean the overdriven amplifier kind. Making guitars can be a dirty business. Carving wood, plastic, and steel into a majestic instrument creates a lot of mess, and eventually you have to sweep your way clear.
Half a century ago, a mentor passed on this advice: The best way to clean up a mess is to not make one in the first place. Maybe this sounds quaint, but I assure you that it is good for business—any business. It doesn’t matter if you make pedals, guitars, amps, or even music, mess is money down the drain. Not only that, it’s a psychological strain on you that saps your energy and makes you careless.
When I worked at Fender, I was part of a team that was charged with revamping departments for efficiency, safety, and worker well-being. I can’t say that we made a huge difference, but I learned a lot that I could apply to my own shop and a host of other businesses. One thing there we didn’t have to fix was cleanliness. Despite the gargantuan scale of the enterprise, all of the factories are incredibly clean, especially considering the amount of materials that get processed. It reminded me of the race cars and shops of Roger Penske, who understood that a clean, organized workplace sets the tone for excellence. It’s also difficult to pinpoint problems when areas are cluttered, and you can’t see what’s going on clearly.
Beyond the obvious advantages of keeping things organized, there is another benefit created by keeping things clean, one that I’m surprised that more shops I visit (and see in videos) don’t understand. Sooner or later, you’re going to have to stop making your product and clean up. When you’re buried in debris, straightening up is time-consuming, and time is money. When you determine your cost per unit, whether it’s guitars, amps, or even rehearsal time, do you factor in the hours you spend cleaning up? It may not seem like much, but it can really add up. Regardless of if you own a shop or are in a band, if you create a tangle every time you work, the time you spend undoing it is time you could have been with your friends, family, or doing anything else.
A well-designed work area that reduces clutter will save your health and save you money. You don’t have to be a big organization to justify some basic cleanliness improvements like a good dust-collection system, either. It doesn’t have to be a huge investment. There are a slew of affordable mobile dust-collectors/vacuums with adjustable arms that can be rolled from task to task.
"When you determine your cost per unit, whether it’s guitars, amps, or even rehearsal time, do you factor in the hours you spend cleaning up?"
Stop blowing dust off your workbench or machinery onto the floor—picking it up later is like throwing profit away. Everybody benefits because cleanliness improves efficiency that reduces passing unneeded costs on to your customers. Over the course of a year, cleaning up 60 minutes a week adds up to almost seven days’ worth of time you could be using for something better, and who doesn’t want an extra week?
I’ve found that if you build cleanup time into your daily routine, it reduces stress as well. It’s important to create procedures that promote a constant state of improvement and order. After a gig, pro techs have a mandated way of breaking down and stowing gear that avoids confusion when the next setup happens. Daily routines of maintenance and cleanup catch problems before they stop the show or cripple production. If you habitually clean the spilled beer off your cables and amplifier, you’re making it easier for yourself in the long run. I know this all seems pretty obvious to some of you, but I’ve learned from master Kaizen practitioners that there’s always a higher level to reach for. If you are a one-person shop or a weekend warrior musician, those steps can really make a difference.
I suppose the reverse is true for me. If I apply this multi-tiered improvement regime to my guitar playing, I’d probably be a lot happier with my proficiency. An old dog can learn new tricks, and that’s exactly what I mean to do. So when I step on that distortion pedal, it will be the only dirt I deal with.The Jason Richardson signature includes HT humbucker pickups, 24 stainless steel frets, and custom tremolo.
Inspired by over a decade of guitar string research, HT pickups deliver an ultra-high-output, powerful low-end response while retaining a distinctively clean, clear tone and definition at lower volume levels. The HT pickups in the latest Jason Richardson model have been voiced specifically for Jason with unparalleled clarity, power, and output. Additional features include 24 stainless steel frets, a custom Music Man tremolo, and innovative electronics, including a push/push volume knob for a 20+ dB gain boost and coil splitting via the push/push tone knob. The Jason Richardson Artist Series Cutlass HT is available now in two new finishes:
- Kokiri Forest—a mesmerizing translucent green finish. Crafted with an alder body, a buckeye burl top, and a roasted, figured maple neck with an ebony fretboard.
- Venetian Red —a striking translucent finish. Crafted with an alder body, a maple burl top, and a white maple neck with a striped ebony fretboard.
“These new pickups are a level up! More body and fullness, effortless pinch harmonics. I’m stoked to have more variations for everyone to choose from with my models now!” “The KokiriForest might be my new favorite color! Absolutely stunning to see in person! The Venetian Red also adds a more diverse option between the woods we haven’t done with my line before, incredibly stoked on both these guitars!” -Jason Richardson
The Jason Richardson Artist Series Cutlass HT in Venetian Red is available exclusively in the Ernie Ball Music Man Vault and is limited-to-25 units in a 6-string and limited-to-25 units in a 7-string. The Kokiri Forest colorway is available at your local Ernie Ball Music Man dealer.
For more information, please visit music-man.com