A closer look at a Gibson Melody maker from 1964. The Melody Maker is one of Gibson's best ever selling guitars - despite it's comparatively low price it didn't skimp on Gibson tradition: well-built instruments, constructed from the finest materials. The body and set neck are both of South American mahogany whilst the fingerboard is South American rosewood. With a sunburst nitrocellulose finish the Melody Maker certainly looked the part. In fact the Melody Maker had more in common with many higher end Gibson instruments than guitars of a similar price bracket made by other manufacturers. The circuitry was simple; just a volume and tone control for one single coil pickup. See also Gibson Melody Maker shipping figures
This was the last guitar and bass catalogue produced by Vox under the ownership of JMI. The cover features Brian Jones of the Rolling Stones, playing his trademark Vox Mark VI teardrop, and features a line up of British and Italian built vox guitars and basses; Vox Phantom, Vox Mark, Vox Spitfire, Lynx, Super Lynx and the Jones' Stones colleague Bill Wymans signature Wyman Bass. Twelve pages.
Details and information on the Kalamazoo KG2a electric guitar. The beat boom of the mid 1960s heralded a huge demand for electric guitars; youngsters up and down America were looking for affordable, well-built solid-bodies, with modern looks and a great sound. Gibson, better known for it's high-end jazz guitars, responded by producing the KG guitar and KB bass lines, under the Kalamazoo brand. They were initially modelled on the Fender Mustang, though soon took the shape of the Gibson SG, which was rapidly rising in popularity. The resulting instruments used modern composite wood technology, Fender style construction and actual Gibson hardware. They looked good, played well, and sold in large quantities. See also Kalamazoo KG shipping figures, a 1966 Kalamazoo KG1 (single pickup) and listen to the Kalamazoo KG soundclips.
A 1961 Gibson EB3 bass. 1961 was the first year of EB3 production, and the year Gibson first used the classic SG shape. Like the SG guitars, the EB3 was built at the Gibson plant in Kalamazoo. Early EB3s are characterised by their chunky necks, wide-spaced controls, nickel hardware and bakelite neck pickup cover. Have a listen to the soundclips of this bass, through several vintage amplifiers.
Profile of a 1966 Gibson EB0 bass. The EB0, like it's big brother the EB3, is something of a 1960s classic; the construction (short scale, mahogany body, set mahogany neck), and the famous Gibson EB humbucker positioned at the neck, gave a deep rumble that perfectly suited the musical environment of the early-mid sixties. But by the early-mid seventies things were going long-scale and maple... Nonetheless, this is a finely built instrument, capable of some terrific sounds that really suit certain musical situations. Have a listen to the soundclips of this bass, through various vintage amplifiers.
The Hagstrom Coronado is one of the most distinctive bass guitars ever manufactured; the quirky controls, 32" scale, and unique shape. The body and neck are mahogany, but with bolt on construction. This 1966 Coronado is one of the later guitars, so does not have the Hagstrom Bi-Sonic pickups, but it is still a great sounding, and highly playable bass. Check out the short Hagstrom Coronado bass sound clips on this site.
Smaller 1960s and 1970s WEM amplifiers are undergoing a bit of a renaissance just now; they make great recording amps, and can be used live when mic'd or more than one is used. The WEM Dominator is a particular favourite, but the Clubman and Westminster also perform very well.
Description from early 1970s WEM advertising
A sturdy valve amplifier producing 5 watts of clean power helped by a heavy duty 12 " speaker. Ideally suited for the young musician, an ideal student amplifier. Two inputs with volume control and separate treble and bass controls. Finished in black leather cloth with silver trim.
The Clubman is actually the smallest amplifier in the early seventies WEM range. Despite this, it is still quite loud. If you like the tone of an overdriven valve amp, but don't want to disturb the neighbours too much, then this is a great amp for playing at home.
Tonally, this is a smooth, deep amp that sounds just amazing when cranked up, and the tone rolled off; some great cleaner tones too, but absolutely never sterile. Have a listen to some of the soundclips below.
Vox Shadow. Bridge pickup. The three-pickup Shadow has no tone control for the bridge pickup. Vox Shadow. Middle pickup only, volume 10/10, tone 10/10. Vox Shadow. Middle pickup only, volume 10/10, tone 0/10. Vox Shadow. Neck pickup only volume 10/10, tone 10/10. Vox Shadow. Neck pickup only volume 10/10, tone 0/10.
Cranked amp: volume 10, treble 5, bass 5
Vox Shadow. Neck pickup only volume 10/10 and tone 10/10. Vox Shadow. Neck pickup only volume 10/10 and tone 0/10.
Relatively clean amp setting: volume 8, treble 8, bass 5. Guitar played with a pick; all volume and tone controls at 10. Turn the amp to full, for a nice slightly overdriven valve sound. This amp can break up beautifully when you really dig in. Volume 10, treble 8, bass 5. Guitar played with a pick; all volume and tone controls at 10.
Neck pickup
Same amp settings, and a relatively clean sound: volume 8, treble 8, bass 5. Guitar played with a pick; volume 10, tone 10. Without adjusting the amp settings, but turning the guitar tone down, you can get some gorgeous jazz/blues tones: volume 8, treble 8, bass 5. Guitar played fingerstyle; volume 10, tone 0.
Bridge pickup
The same amp setting: volume 8, treble 8, bass 5. Guitar played with a pick; just the bridge pickup, volume and tone at 10. This setting produces a rather nice chimey tone.
Guitar: Both pickups, volume 10, tone 10. Played with a pick. Guitar: Neck pickup only, volume 10, tone 10. Played with a pick. Guitar: Neck pickup only, with the tone rolled down. Volume 10, tone 0. Played with a pick. Guitar: Bridge pickup only, volume 10, tone 10. Played with a pick.
Cranked amp: volume 10, treble 5, bass 5
Guitar: Both pickups, volume 10, tone10. Fingerstyle. Guitar: Neck pickup only, volume 10, tone 10. Played with a pick. Guitar: Bridge pickup only, volume 10, tone 10. Played with a pick. Guitar: Neck pickup only, with tone rolled down, volume 10, tone 0. Fingerstyle.
H12 neck pickup only, volume 10/10. Played with a pick. A full 12-string sound. H12 neck pickup with 'mute' switch engaged, volume 10/10. Played with a pick. H12 bridge pickup only, volume 10/10. Played with a pick. H12 bridge pickup with 'tone' switch engaged, volume 10/10. Played with a pick. Both pickups, volume 10/10. Fingerstyle.
Cranked amp: volume 10/10, bass 5/10, treble 5/10
H12 bridge pickup only, volume 10/10. Played with a pick. H12 bridge pickup with 'tone' switch engaged, volume 10/10. Played with a pick.
Both pickups, all volume and tones 10/10. Played with a pick. Gibson SG Special. Neck pickup only, volume and tone 10/10. Gibson SG Special. Neck pickup only, volume 10/10, tone 0/10. Gibson SG Special. Bridge pickup only, volume 10/10, tone 10/10. Gibson SG Special. Bridge pickup only, volume 10/10, tone 0/10.
Amp settings: volume 8/10, treble 5/10, bass 5/10. You can get some really creamy fuzz tones with this amp
Both pickups, all volume and tones 10/10. Played with a pick. Gibson SG Special. Neck pickup, volume 10/10, tone 0/10. Gibson SG Special. Bridge pickup, volume 10/10, tone 10/10.
The treble rolled down on the amp (amp: volume 8/10, treble 2/10, bass 5/10)
Neck pickup, volume and tone 10/10, bridge pickup, volume 8/10 and tone 3/10, fingerstyle. Neck pickup only volume and tone 0/10, fingerstyle.
If you are looking for specific vintage guitars for sale, you may have to keep an eye on numerous vintage guitar stores, classifieds websites and ebay listings. Below are just the auctions - Vintage guitar stores tend to advertise theirs in their ebay online vintage guitar stores - have a look because there are some different listings.
