Playability and toughness were its chief attributes. In its time with me, it was a perfectly pleasant guitar to own. This yielded me a profit of $40, but factoring in the strings, bridge pins, and labor that I put into it, it was more of a break even situation. Another guitar entered the flock rather unexpectedly, and because of that windfall I wound up selling the Yamaha a few months ago for the princely sum of $120. As an exercise in self-discipline I’ve made it a personal policy to own only one acoustic at a time. There were some pick scratches in the laminate top, but overall it was in pretty good shape for a 30-ish year old acoustic. The bridge was solid and it played in tune (more or less) all the way up to the body joint. Tuned to pitch with some new strings, it became a very presentable and playable guitar. Some lemon oil on the rosewood fretboard and polishing cloth on the fretwire brought it back to life immediately. It was in rough shape initially, with three of four rusty strings still hanging onto the neck and several missing bridge pins.
She gladly took my $80 and threw in a bunch of cool retro Hawaiian radio station stickers, which I haphazardly attached to things at my last apartment.
#MATTEO CARCASSI TREMOLO HOW TO#
It was a gift that she didn’t know how to play and was tired of moving around. The seller was the Hawaiian-born wife of an Air Force pilot. There’s nothing unusual about it at all – if you asked a 10 year old kid to draw a guitar, this is exactly what they would come up with. It’s a dreadnought with a laminated spruce top. This guitar was made in Taiwan between 19. Unfortunately, that’s not the case with the FG-335ii in question here. His guitar was made in the “Red Label” days of the late 1960s and early 1970s, when Yamaha was hand-building great guitars in Japan using solid woods, high-end materials, and exceptional attention to detail. It’s a lot of money, but it’s also a lot of guitar.
That’s Martin or Taylor money for something made by a company responsible for the engine in the 1988 Ford Taurus SHO. As evidence of this, some overly ambitious fellow on my local Craigslist is attempting to hock his Japanese-made FG-180 for over a grand. Guitars that were once screaming deals on the used market are now being priced in accordance with their quality, not the name on the headstock. As with all unheralded great things, the small secrets of the informed, the bargains for those who are in the know, the word eventually gets out and the prices start trending northwards. Some of them are very good guitars, but the market for them is becoming overly bullish. They are told of in song on Internet forums as if they were crafted with golden files by teams of small magical elves. In certain circles, old school Yamaha acoustics like this FG-335ii seem to have a reputation similar to Japanese-made Fender electrics. Deal of the Century: 2001 Hamer USA Special. I’ll just say that if you could funnel the entire target market of the Hamer Virtuoso into a single super-shred neoclassical-loving whackjob of an individual, it would be this dude. If you would like to see one in action, a gentleman has created a video of himself playing one on Youtube. Today’s prices would certainly be even higher, and I wouldn’t be surprised to see the right Virtuoso, such as the Celestial pattern here, break into five figures. You could expect to pay double that for something like this black-and-gold beauty, offered in January of 2008 for $6500. Even the most basic ones were changing hands for over $3000 in the middle of the recession. It would be interesting to own a Virtuoso, but damn if they aren’t expensive. You really have to appreciate the attention to detail on this finish, even if it’s not your style. I imagine his workload decreased substantially post-1993, as the dominant guitar aesthetic shifted away from over-the-top custom work. He spent the 1980s working with guys like Wayne Charvel to create stuff like this and was also responsible for the Jack Daniels bass played by Van Halen’s Michael Anthony. The stunning airbrush work on this guitar was done by Jim O’Connor, who was a go-to guy in the world of outrageous custom guitar finishes. Body materials also varied, but several of them are made from Korina. Some of them have Hamer Sustain Block hardtail bridges and at least one has a Kahler. This one has a straight single coil sized humbucker (many were slanted) and a Hamer-branded Floyd Rose. Most of them have fully-scalloped fretboards, too.Īt the time that Hamer made these, they were operating as a custom shop as much as a main-line manufacturer. The longer scale is supposed to make the last 10 frets usable, but it still looks really cramped up there. They featured a 36-fret neck with a 26.5 inch scale. The company made about 24 of these guitars during the golden age of shred. This piece of exquisite ridiculousness is the Hamer Virtuoso.
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