A guitar found buried in a friend’s garage gets cleaned up for a second life.
Hi Zach,
This guitar was buried in a friend’s garage. Got it for nothing. I believe it’s a 1989 Westone Corsair GT WE7400TRB (SN 052921). It just needed some cleanup, but otherwise is in great shape. All original. Seems to be a model that is relatively rare. What have I got?
Thanks,
Ryan Meverden
Hi Ryan,
It makes you wonder how many guitars and other pieces of cool gear are buried in peoples’ garages and attics, doesn’t it? Westone is definitely a product of the 1980s, but the brand has appeared in some form for almost every decade since. Let’s take a brief look at the company’s history.
Matsumoku was a well-known and well-respected guitar and sewing machine manufacturer from Japan. They produced guitars for many large companies in the 1970s and 1980s including Epiphone, Aria, and Vantage. In the late 1970s, Matsumoku decided to introduce their own line of guitars and market/distribute the line themselves, all while continuing to produce guitars for other manufacturers. Matsumoku developed their first prototypes in 1979 to 1980, and the new line of guitars was branded Westone.
In 1981, Saint Louis Music (SLM) acquired a partial interest in the company, and shortly thereafter, SLM became a distributor of Westone in the U.S. At the time, SLM also owned and distributed Electra guitars, a brand made by Matsumoku. SLM combined the two brands as “Electra-Westone” in 1984, but by 1985, they dropped the Electra name all together and went back to just Westone.
In 1987, the Matsumoku factory closed due to low sales. Saint Louis Music then shifted production of Westone guitars to Korea, where they essentially came up with an entirely new line of guitars. Production would continue in Korea under the Westone name until 1990 or 1991, when SLM decided to start branding all their electric guitars under the Alvarez name as a complement to their successful acoustic line. While this marked the end of Westone as many of us knew it, FCN Music reintroduced a few models to little success in 1996/1997, Status Graphite made some “Sid Poole Westones” in 1998, and the German company Musik Meyer would later try and revive the name in the 21st century via the production of inexpensive Gibson and Fender copies.
Your guitar appears to be a circa 1989 or 1990 Corsair GT WE7400 that was produced in Korea. Many serial numbers on guitars built there during this era use the first digit to indicate the year the guitar was produced, so the leading “0” in your guitar’s serial number could indicate 1990, but this is all speculation. (This same guitar also appears in Westone’s New Horizons catalog from 1989.) Specs include an unspecified body wood, bolt-on maple neck, 24-fret rosewood fretboard, “Heatwave” pickups (two single-coils and one humbucker with a coil tap), a Kahler Spyder double-locking tremolo, and black-chrome hardware. It was available finished in black, light blue, metallic red, transparent red, or transparent blue, like yours. The list price for the Corsair GT in 1989 was $675 for transparent-finished instruments and $599 for non-transparent finishes.
The early Westones built by Matsumoku in Japan are generally regarded by collectors and players to be decent guitars. Most of them appear to sell in the $400 to $700 range, but I’ve seen some listed at up to $1,000. The Korean Westones aren’t bad instruments per se. They’re just not worth as much as their Japanese counterparts. I believe your Westone is currently worth somewhere between $200 and $400 in excellent condition, which it appears to be after you cleaned it up. When looking at the used Westones currently for sale, very few are from the late 1980s. It’s just another example where rarity doesn’t necessarily translate to desirability.
Your story isn’t unlike many I’ve heard about finding a guitar, bass, or amp that nobody knew was there or knew anything about. I encourage everyone to go through and identify what you have when you’re moving or cleaning out a house. I’ve seen and heard of so many items simply going into the trash because someone was in a hurry. Take the time to see what you have and you just might uncover a treasure.
This reader solicited the help of his friend, luthier Dale Nielsen, to design the perfect guitar as a 40th-birthday gift to himself.
This is really about a guy in northern Minnesota named Dale Nielsen, who I met when I moved up there in 2008 and needed somebody to reglue the bridge on my beloved first guitar (a 1992 Charvel 625c, plywood special). Dale is a luthier in his spare time—a Fender certified, maker of jazz boxes.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.
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