The ordinary investor doesn’t think in terms of value and opportunity, only price. That applies to stocks as well as guitars.
Although equity and property investment markets are vastly different, buyers and sellers share some of the same challenges. Hidden or undisclosed problems, the health of the overall market and demographic cycles can influence the outcome of a purchase or sale. Equities have a book value and some have positive cash flow to help determine value. A property has an appraised value. A guitar’s market value can greatly exceed the pretty wood’s intrinsic value.
Liquidity Rules
There is a mighty tailwind blowing down Investors Avenue for popular asset classes. Plentiful funds boosted by historically low interest rates in the USA have paved the way for higher prices in many markets, property and financial alike. Also, the world’s wealthy had a good year in 2006. So good in fact it’s the first time the Forbes 400 list of richest Americans contained only billionaires.
The rich get richer and they are out spending their big bucks on many items including firms, houses, art, jewelry, old cars and vintage guitars. A key metric is that babyboomers over 50 years of age own about 50% of total U.S. assets. The bottom line is people in the top 10% of the wealth spectrum can afford expensive Tier-1 vintage guitars, along with their ownership of most of the financial assets in this country, and a lot of these folks are boomers.
Martin’s flagship pre-war D-45 saw great appreciation ahead of the bumper-to-bumper price increases for vintage electric guitars in the ten-year period ending in 1996. Key Martin and Gibson flattop guitars realized stronger demand during the ten years ending in 1996, compared to 1950s and 1960s Fender and Gibson electric guitars. During the 1990s Tier-1 vintage electric guitars gained in value at a rapid pace compared to old acoustic guitars. In the ten years ending with 2006, there was not much difference in the performance of the three major USA stock averages – meanwhile, first-year Stratocasters and Bursts increased at about eight times the stocks’ gains. Over the twenty-year period ending in 2006, important old guitar models drove past Wall Street at a high rate of speed. These pulse-pounding gains have caught the attention of folks with lots of money.
Guitar Rich
Collectors, players, investors and speculators have seen tremendous price gains for popular vintage guitars in the last 36 months. It seems speculation reached a fever pitch this past year. Speculators are mainly motivated by profit and some have little reliable personal knowledge or experience determining the originality of these often manipulated hunks of wood. There are guitars parked in collections and held by speculators that are not “right” and some will create drama when they are peddled.
There are few markets that exhibit the annual price increases and longevity of great old guitars. Risk-takers with pockets full of money had the opportunity to buy at or near the market price in the past and immediately charge more. Some dealers who never kept their vintage acquisitions are now holding back expensive guitars fearing a loss of potential future profits.
There were only about 1000 total instruments of the three iconic guitars listed in the Wall Street vs. Wood Street table. Many of those original instruments are less than pristine due to tragedy or unskilled repairmen. Some of the excellent examples aren’t offered for sale due to rising prices, thereby raising prices further with continued strong demand. There have been a few red lights flashing – a signal that price increases on some other models have moderated. It seems sunburst Strats are available and some at prices below their peak spring fling.
What does the future hold for vintage guitars? I don’t know … ask the speculators.
Larry Meiners writes the Serious Guitar Collector Column for Musicians Hotline® Magazine. Larry is the author of the Gibson Flying "V" and Gibson Shipment Totals books as well as the audio CD book for collectors, Live! At The Guitar Show.
Larry''s books are available at (as well as other fine musical instrument and book retailers): Amazon.com, www.amazon.com, Blue Book Publications,
1-800-877-4867, www.bluebookinc.com, Elderly Instruments,
1-888-473-5810, www.elderly.com JK Lutherie,
1-800-344-8880, www.jklutherie.com, Music Time (Charles Dumont),
1-800-932-0824, www.musictime.com
For more information or to email Larry, please visit - www.flyingvintage.com
email: flyingvintage@aol.com
Copyright (c) 2004 Larry Meiners All Rights Reserved
Metalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
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.
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.