This all-tube 15" combo from the mid-’90s was produced for just a couple years, but helped develop an amp series that lives on.
Hey Zach,
I bought this Peavey amp back in the 1990s as a more affordable version of a Fender. (Let’s face it, I was broke.) Doing some quick internet research tells me Peavey still makes amplifiers, specifically the Classic Series, but I can’t really find anything about my Blues Classic. Can you tell me anything about it and what it’s worth today?
Thanks,
Chad in South Carolina
Hey Chad,
Thanks for the question! I remember those days and the always difficult choice of trying to afford decent equipment or pay the bills. The good news is you happened to find an amp that was a relatively good bargain then, and still is today. Yes, you are correct that Peavey still produces the Classic Series, but let’s go back a bit to explore Peavey’s history and how your amp came about.
Hartley Peavey grew up in Meridian, Mississippi, and after spending time in his father’s music store, he began building his own guitar amplifiers while in high school. In 1965, Peavey decided to go into business himself and founded Peavey Electronics in his parents’ basement. He initially only built PA systems, but after rapid company growth, Peavey began building guitar and bass amplifiers in the 1970s.
Circa 1973, Peavey developed a line of Fender narrow-panel tweed-inspired amps, appropriately called the Vintage Series. These amps utilized 6L6 power tubes and relatively obscure 6C10 preamp tubes. The Vintage Series eventually evolved into what we now know as the Classic Series, with most of the amps utilizing traditional 12AX7 preamp tubes and EL84 power tubes. This is somewhat of an unusual combination, however, since it uses both American (12AX7) and British (EL84) tubes to make a unique sound. Think Fender meeting Vox.
Your Blues Classic has 50 watts output, a single 15"speaker, and the American/British tube combination of three 12AX7s and four EL84s. Italso has two channels, spring reverb, a master volume control, and an effects loop. While there is no directrelative of this amp in Fender’s lineup, it is somewhat similar to an early Bandmaster, Bassman, or a mid-’50s Pro, which all utilized a 15"speaker. Keep in mind that many blues/jazz players choose 15"speakers as they tend to not lose the treble/high-end tones, so it makes sense this amp was coined the Blues Classic.
You don’t see these amps very often, mainly because the Blues Classic was only produced in 1994 and 1995. That said, there are a lot of different Classic Series models out there. The most common/popular model is probably the Classic 30, which has 30 watts output and a 12"speaker, and is similar to a Fender Deluxe. Other models in the series include the Classic 20, Classic 50, Classic 100, and Delta Blues, and all are wrapped with tweed-style covering to project that 1950s look and music style.
When Peavey discontinued the Blues Classic in 1995, it retailed for $800, but you could probably have bought it brand new for about $650 with standard discounts. It’s worth between $325 and $400 in excellent condition today. It may seemlike the amp hasn’t held its value very well, but the reality is that the value hasn’t changed much in nearly 25 years. (The used value of this amp in the mid-1990s was probably between $325 and $400, too.) Most Peavey Classic Series amps are still very affordable today, including the models that were discontinued many years ago. And from what I’ve heard and read, these amps are generally favorably reviewed. Maybe that means it’s a hidden gem? I’m not sure, but it’s reassuring to me that there are still some legitimate deals out there.
Hartley Peavey continues as the CEO at Peavey, which celebrated its 50th Anniversary in 2015. The company still offers a full line of guitars, amplifiers, and PA equipment, and continues to innovate within the industry. Like many other guitar and amp manufacturers, Peavey now outsources most of their production overseas, but their headquarters remain in Mississippi.
A late-1970s entry-level axe picked up for $200 undergoes a complete makeover. Is it now a treasure?
Hey Zach,
I bought this guitar from a small shop on Sunset Boulevard in 1986 for $200. It is in very good condition overall, but I had some work done, including installing Lollar pickups, all new wiring and switching, a new nut, Grover tuners, and I had it re-fretted. The bridge and tailpiece are original. I’ve played the guitar often over the years and I love the feel and sound, which I believe is because of the compound radius. So I’m very curious what you think of my guitar. Trash or treasure?
Best regards,
Eric Davis in Savannah, Georgia
Hey Eric,
First of all, I like telling all guitarists that if you find a guitar that sounds and plays well—regardless of how much you paid for it—it’s a treasure. An inexpensive early 1990s Washburn acoustic/electric is still my player of choice. That said, guitar collectors might look at it a little differently since they are interested in the investment aspect as well.
I’ve written about early Ibanez guitar history in previous columns [“Ibanez ‘Lawsuit Era’ Les Paul Custom Copy,” July 2010 and “Ibanez Custom Agent,” December 2012] and touched on the company’s infamous “lawsuit” models in both, so I encourage readers to check those articles out for more information on Ibanez’s interesting background. When the lawsuit centering around the assertion that Ibanez was copying Gibson’s designs was settled shortly after it was filed in 1977, the company was already producing several of its own designs, and by 1979 Ibanez’s entire catalog was void of any obvious copies.
Your guitar, an ST 50, was part of the Studio series introduced in 1979. The Studio models featured slightly offset, double-cutaway construction with a set neck, 24 frets, and an unusual 25 1/2" scale. Many people have described the Studio series as comparable to Gibson SGs sonically, but the longer scale makes them more akin to playing a Strat. I’m guessing the re-fret you had done helped the compound radius play even better.
For pickups, Ibanez outfitted the ST 50s with their V-2 humbuckers. According to Ibanez marketing materials from the era, the pickups deliver “scorching output.” Many players have described the output as warm, while others have used “muddy” to describe the V-2 tone. Regardless, it wasn’t a sound for everyone and some players replaced the pickups on these Studio models with something softer—the same thing you did by swapping in a set of Lollars.
The ST 50 was the entry-level model in the Studio series. Other features include a mahogany body, laminated-maple neck, rosewood fretboard with dot inlays, nickel-chrome hardware, and master volume and master tone knobs governing the pickups. Other variations include the ST 55 (similar to the ST 50, but with individual volume/tone knobs), the ST 105 (same as the ST 55, but with a 3-piece maple/mahogany body), the ST 200 (a maple/ash body outfitted with the “EQ-2 Tone System”), and the top-of-the-line ST 300 and its Tri-Sound pickups.
Other upgrades include a set of Grover tuners, a new nut, and a re-fret to get this Studio Series find into playing
shape for its owner.
The first series of Studio guitars lasted until circa 1981, when they were replaced with a new line including the ST-70, ST-370, ST-390, and the impressive ST-1200 double-neck. A 1982 catalog shows what appears to be the last series that featured a more offset double-cutaway body—but with 22 frets—with the ST60, ST80, and ST90 models.
Your guitar’s serial number (B7978XX) indicates it was made in February 1979. During this period of manufacturing, Ibanez corresponded a letter to a month within their serial numbers (“A” is January, “B” is February, “C” is March, etc.), and the first two numbers in the serial number are the last two of the build year (79 indicates 1979). It is also likely that FujiGen Gakki made your guitar, since most guitars from the late 1970s and early 1980s with this serial-number format were built by the Japanese manufacturer.
As for your guitar, reconfiguring an instrument from its original condition typically reduces its value compared to an all-original example. However, the modifications you made are tasteful and we aren’t talking about a high-quality vintage instrument from the ’50s or ’60s. I believe your guitar is currently worth between $400 and $500. An all-original version in excellent condition might fetch $600. According to my favorite inflation calculator, $200 has the same buying power as approximately $438 today, so your guitar has kept up in that regard. This calculation doesn’t take the modifications you’ve made into consideration, but since this guitar is a player, I’m guessing that doesn’t matter to you! I think you have a treasure, because you’ve found a guitar that plays well and sounds great. And most musicians will agree that’s the main goal—regardless of cost.
Vox acoustic guitars are rare birds, but how high do they fly in today’s market?
Hey Zach,
I bought this Vox acoustic guitar in the early 1990s at a guitar show for $150. At the time, I thought it was really cool, but didn’t play it much. Now it sits around amongst my guitar collection and I’m considering selling it, but would like to know what it’s worth and if it’s worth holding onto. Could you share some history on the guitar and tell me what it’s worth?
Thanks,
Jeff in Eugene, Oregon
Hi Jeff,
When it comes to Vox, AC30s and the Beatles likely come to mind first. But since the company was founded in 1957, they’ve also offered a wide range of electric guitars, acoustic guitars, organs, and effects in addition to their famous amplifiers. I suspect $150 was a pretty fair price to pay for this guitar in the early 1990s, but the question is if the guitar has increased or decreased in value.
Vox’s first electric guitars were designed in 1960 and introduced in 1961. Built in England, these first models—called the Stroller and Clubman—were based on Fender designs. Interestingly, Fender guitars were unavailable in England during the early ’60s, so these first Vox models were designed to fill a void. The pentagon-shaped Phantom series followed in 1962, and became Vox’s best-known and most-collectible guitars. Other models followed in 1963.
A few things happened to the expanding company in 1964. First, Vox outsourced production of their guitars to an Italian manufacturer called Eko. Then, in order to raise capital for his company, Vox founder and owner Tom Jennings sold a controlling interest of Vox to U.K.-based Royston Industries. A year later, the Thomas Organ Company of California began importing a line of Vox-branded acoustic guitars built by Eko into the U.S. For those of you familiar with Eko guitars, the similarities are striking. As far as I can tell, no acoustics were offered in England.
Vox’s acoustic models included the dreadnought Country Western V238 (a rebranded Eko Ranger 6), the Folk XII V239 (essentially a 12-string version of the Country Western and a rebranded Eko Ranger 12), the entry-level folk-style Serenader V220, the 12-string Shenandoah V279, and your guitar—the Rio Grande V278.
The Rio Grande is essentially a more ornate version of the Country Western and also a quasi-signature model for the late Nashville-based country artist Eddy Arnold. Your Rio Grande features a solid-spruce top, mahogany back and sides, a set mahogany neck (as opposed to the bolt-on neck of the Country Western), a rosewood fretboard with large pearl-block inlays, a pearl vine-themed headstock inlay, and a three-point pickguard with both Eddy Arnold’s signature and the model-name “Rio Grande” adorning it.
Unfortunately, there aren’t any reliable serial-number lists for Vox guitars and the numbers used by Eko seem like they were assigned completely at random. We do know that Vox acoustic guitars were built from late 1965/early 1966 until they were all discontinued in 1969—when both U.S. and European guitar manufacturers were feeling the pressure brought on by cheaper offerings from manufacturers in Asia.
Vox restructured their line with a series of Japanese-produced solidbody guitars, but they didn’t offer acoustic guitars again. Vox reissued their Phantom guitars in the late 1990s and would also produce the original-design Virage series that launched in 2007. Vox continues to produce a full line of guitar amplifiers, but currently only has one guitar in their line-up, called the Starstream. They are, however, currently producing ukuleles.
Twenty bucks for a 1970s Sunn combo in excellent condition makes for a Saturday well spent!
Hey Zach,
I was recently at a garage sale and bought a Sunn Solos II guitar amp for $20 Canadian. It is a 2x12 solid-state combo with a tremolo/reverb footswitch. Everything appears to be in original and near-perfect condition. The speaker grille has no tears, but has slightly turned a little yellow due to age. I found very little information on this amp. Can you give me a little history and possibly a value?
Thanks,
Jeff Sexsmith
Lloydminster, Alberta, Canada
Hey Jeff,
You never know what you’re going to find at a garage sale! I don’t always have the patience on a Saturday morning to go house-to-house trying to find the next treasure, but every now and then you come across a good old piece of gear. It’s even better when you find an old piece of gear at a bargain price.
Brothers Norm and Conrad Sundholm founded Sunn in the mid-1960s in the Portland, Oregon, area. Norm was the bassist for the Kingsmen, and after the band gained overnight success with their hit “Louie Louie” in 1963, he quickly realized that the amps they had were not powerful enough to play large concerts. So, Norm enlisted the help of Conrad to design a more high-powered bass amplifier, and the result was the first Sunn amp.
The Sunn brothers quickly outgrew the confines of their family garage, where they had set up shop. In 1965, they moved into a repurposed, swimming pool facility in Tualatin, Oregon, where they would manufacture and expand their line to include a full range of amplifiers. The Who famously used Sunn amps on their North American tours in late 1967 and 1968, and the company’s notoriety grew in the music-gear business.
Unfortunately, Sunn’s initial success was short-lived. In 1969, Conrad bought Norm out of the company after the brothers began disagreeing on business decisions. Three years later in 1972, Conrad sold the company to the Hartzell Corporation. Production then moved to Williamstown, Kentucky, but they were still shipping components from Oregon at great expense. It should also be noted that by the 1970s Sunn was heavily involved with solid-state technology, which wasn’t considered as good as tube amps by many musicians. Sunn manufacturing would return to Oregon after a few years.
Production floundered through the late 1970s and early 1980s, before Fender bought Sunn in 1987. Fender initially produced Sunn amps for a few years, but mothballed the trademark until 1998 when they rolled out a new line of Sunn amps. That line only lasted until 2001. Interestingly, the Sunn 300T became the Bassman 300, which remained in Fender’s product line through 2012. The Sunn brand is still owned by Fender today, but Sunn-branded amplifiers haven’t been produced for many years.
The icing on the cake for this garage-sale steal is the original dual-footswitch that was still paired with the amp.
The Solos II amps were produced in the 1970s and designed for guitar use. Like many Sunn amps from this era, they utilized a solid-state chassis. Your model has two 12" speakers (a 1x15 configuration was also available), 120-watt output, two channels with normal and brite inputs for each channel, reverb and vibrato on channel 2, and a distortion switch labeled as “X20.” The fact that your amp came with the original footswitch for controlling reverb and vibrato is pretty cool, since unattached items like footswitches tend to go missing over the years.
Today, Sunn has developed a bit of a cult following by musicians in the stoner-rock genre. Sunn amps fit the genre because they’re loud, relatively clear, put out a good bass sound, and can deliver a ton of distortion.
These Solos II amps are currently worth between $400 and $600 (U.S.) in excellent condition, which your amp most certainly is. You did very well picking it up for $20 (U.S. or Canadian). Take care of it like the previous owner did and you will have a treasure for years to come. And keep checking out those garage sales!
Identifying a 1990s MIM Strat through the process of elimination.
Hey Zach,
I have a Fender Stratocaster that I bought for my son sometime in the 1990s. He played it a few times, but moved away and told me I can do what I want with it. (Unfortunately, he never took to the guitar.) It’s candy apple red but the only information on the guitar is “Fender Stratocaster” on the front of the headstock, and the serial number MN664280 and “Made in Mexico” on the back. I’ve narrowed it down that it was made in 1996, but after looking online and at the Blue Book of Electric Guitars, I’m not sure what variation of Stratocaster this is. How can you tell?
Aaron in St. Louis, MO
Hey Aaron,
The Stratocaster is undoubtedly Fender’s most popular model of all time. And they’ve capitalized on this success for over 60 years by producing more than 100 variations of the timeless guitar. Unfortunately, the type of each Strat is not usually indicated anywhere on an instrument, which leaves an owner to do some research. Having the original box/case/paperwork helps, but here, we’ll figure out exactly what variation of Strat you have by using the process of elimination.
From the introduction of the Stratocaster in 1954 through the early 1980s, there was pretty much only one Stratocaster in Fender’s lineup from year to year. (This made for easy archiving!) Aside from the Mary Kaye Strat in the late 1950s, the Antigua Strats in the late 1970s, and the 25th Anniversary Strat in 1979, there really weren’t any variations.
Because the 1970s Stratocasters were not that well received, Fender was feeling the heat by the early 1980s to return to their golden era of the 1950s/early 1960s. So in 1982, the first vintage-Strat reissues were introduced (along with a few other variations) and the Elite Series followed in 1983. Fender was struggling by 1984, however, and Bill Schultz and his investment group bought the trademark from CBS in 1985.
In 1986, Fender restructured their line entirely and introduced several new model variations utilizing many countries of origin to produce them. As Fender surged through the 1990s and 2000s, they realized that continuing to tweak the line and introducing new models nearly annually would help keep up the interest in their guitars. Because there are so many variations of the Stratocaster in existence today, however, identifying a specific model can be challenging.
The good news is that Fender’s serialization is very reliable. You are likely correct that your guitar was made in 1996 (although early 1997 is possible). And the only Mexican-made Strats offered in 1996 were the Standard Series, the entry-level Traditional Series, the Tex-Mex, and a Richie Sambora signature model.
The Richie Sambora signature was only available with a humbucker pickup in the bridge position, so that’s out. The ’96 Standard Stratocaster had three single-coils and was available in black, brown sunburst, crimson-red metallic, Lake Placid blue, and Arctic white—but not candy apple red—so that’s out. The same holds true for the Traditional Series Strats: They were only available in Arctic white, black, and Torino red. The Tex-Mex Strats were available in candy apple red, and when you also consider the ’50s-style “spaghetti” Fender logo on the headstock that was unique to the Tex-Mex Stratocaster, I can confidently say that the Tex-Mex is what you have.
Although Fender doesn’t often indicate the variation of a particular Stratocaster on the actual instrument, there are other ways to determine a Strat’s background.
It’s interesting to note that Jimmie Vaughan had taken notice of Mexican-made Stratocasters in the mid-1990s and brought the idea of a signature model to Fender. After striking an endorsement deal in 1996, Vaughan collaborated with Fender in developing the Tex-Mex Stratocaster. The following year, Fender made a few minor changes to the model and it became the Jimmie Vaughan Tex-Mex Stratocaster, which is still in production today. This made the non-Jimmie Vaughan version of the guitar a very short-lived model.
What makes the Tex-Mex Strat different from a regular Strat? It’s essentially the set of Tex-Mex single-coil pickups, jumbo fretwire, and overall styling that mimics the Strats from the late 1950s/early 1960s. The bodies and necks were made at Fender’s U.S. factory in Corona, California, but were assembled and sanded in the company’s plant in Ensenada, Mexico. The Mexican-produced guitars from the mid-1990s are generally regarded as being decent instruments, but they unfortunately don’t posses the same level of collectability as their American, Korean, or Japanese counterparts.
Today, this guitar (with gig bag) is worth between $325 and $400 in excellent condition, which leaves you with a few options: Sell it for a few hundred bucks, store it properly with the hope it increases in value, or play the thing. At least someone in every family should play guitar!