vintage vault

This Takamine F-450S-A is a 14-fret dreadnought with a spruce top and rosewood back and sides.

This ’70s Japanese lawsuit-era guitar was brazenly designed to mimic a Martin D-41, and to our columnist’s ears, sounds just as good as the original.

It’s a 14-fret dreadnought acoustic with a spruce top and rosewood back and sides. It’s appointed with beautiful reduced-hexagon abalone inlays, matching binding, and multi-stripe detail throughout. The logo reads vertically instead of horizontally, and it has a rich, powerful tone. Surely I’m referring to an heirloom-quality, America-made Martin D-41, right?

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With its zero fret, Maphis-signature shape, and distinctive vibrato arm, this guitar screams Mosrite, but with its own luxurious bird’s-eye maple body and other appointments.

Patterned on Mosrite’s Joe Maphis model, this luxurious guitar is truly one of a kind.

Before the Mosrite brand was born, its founder, Semie Moseley, was just an independent luthier trying to make a splash. In the same way Paul Reed Smith pitched his pre-factory builds to Carlos Santana and Heart’s Nancy Wilson, Moseley found his first golden ticket in a Southern Californian picker by the name of Joe Maphis.

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With its sleek gold trim intact and just a slight crack in its plexiglass faceplate, this 1966 JTM45 hardly looks its age.

This JTM45 is an amp of which rock and blues dreams are made on.

So often in the world of guitar and amp design, the earliest innovations are hard to improve upon. Companies spend years and countless dollars trying to tweak the formula just to wind up back where they started. The Telecaster still looks virtually the same 75 years later, and Marshalls are still the gold standard for classic rock ’n’ roll amplification.

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