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Used 2019 Gibson Les Paul Standard '58 (R8) Reissue - Iced Tea Burst
$3,999.99
Pre-owned Gibson Les Paul '58 RI (R8) (2019). Comes with the original hardshell case and paperwork. Weight is 8.5 lbs, serial: 8 9988. Perfect condition- absolutely mint. No fret wear, no finish flaws. Certificate, paperwork and case candy included.
The 1958 Les Paul Standard Reissue features all the painstaking historic construction methods of the famous '59 Reissues with a few historically-accurate spec differences that allow it stand on its own. Like the 1958 originals, it has narrow frets which help more of the fingerboard wood to be heard in the tone profile. It also has a round, chunky neck profile for a full feel and maximum bending leverage. And finally it has a beautiful plain maple top; each is unique and full of character.
Body
Neck
Hardware
Finish: Nickel
Tuner Plating: Nickel
Electronics
Miscellaneous
Used 2018 PRS Private Stock McCarty 594 Graveyard Limited
$6,999.00
Pre-owned 2018 PRS Private Stock McCarty 594 Graveyard Limited
Mint condition, no fretwear, no finish issues. Original case candy and certificate included.
PRS Guitars was recently able to purchase more than 150 curly maple tops from the outskirts of a Graveyard on top of a mountain on the East Coast of the USA. The Gravestones were dated around 1884, and the trees were clearly at least that old as they were forty feet to the first limb. The trees were logged in 2017, and the tops very closely resemble the wood used on guitars coming out of Kalamazoo in 1959. Paul Smith said it appeared to him to be some sort of sub-species of “Michigan” red maple, but with more thought it may just be the age of the tree. Regardless, these are Private Stock quality tops with medium wide to wide curl and extraordinary flame that has an iridescence to it.
For this limited edition Graveyard Guitar, the PRS Private Stock team has spec’d a beautiful, vintage-inspired McCarty 594. Notable specifications include solid red abalone birds and headstock eagle, curly maple binding along the fingerboard and veneer, and thin, vintage nitro Honey Gold with a Dark Cherry Smoked Burst finish (weather checking will happen over time).
This PRS Private Stock McCarty 594 “Graveyard Limited” was limited to 80 pieces.
Model: McCarty 594
Top Wood: "Graveyard" Curly Maple
Back Wood: African mahogany
Headstock veneer wood: Madagascar rosewood with curly maple binding
Color:Honey Gold with Dark Cherry Smoked Burst
Finish: "vintage" nitro finish
Neck: Figured mahogany
Neck Carve: Pattern vintage
Fretboard: Madagascar rosewood with curly maple binding
Side Dots: Black
Fingerboard Inlays: Solid shell red abalone birds
Headstock veneer inlays: Solid shell red abalone Private Stock eagle
Pickups: Treble: 58/15 Bass: 58/15 LT
Electronics: Two volumes, two push-pull tone controls with 3 way toggle
Hardware: Nickel PRS 2pc stoptail, phase III set scream locking tuning pegs with ivoroid buttons, African mahogany backplates as well as a bone nut
Set-up: D'Addario .010
Case and Accessories: PRS private stock paisley hardshell case & private stock certificate
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Used Tim White "Timbuckers" MGL Special Run Pickup Set
$899.99
Pre-owned set of Tim White "Timbuckers" Marks Guitar Loft special run timbuckers exclusive wind (lower than usual windings) On a nice day here in CT the pickups measured at 8.06K Bridge and 7.7K in the neck. These are hard to find are highly collectible these days. Plenty of wire left on the pickups for any install.
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Used Sennheiser XSW-D Instrument Base Set
$199.99
XSW-D INSTRUMENT BASE SET.
In excellent condition, with original box and paperwork.
One-touch ease-of-use wireless audio set that utilizes a digital transmission to seamlessly link audio sources. This elegant solution makes going wireless with instruments easier than ever before while maintaining a reliable connection.
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One touch ease-of-use
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2.4 GHz digital transmission for worldwide operation
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75m range (250ft) in optimal conditions
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Up to 5 hours battery life on a single charge
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Switch between multiple transmitters linked to one receiver
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Configure any combination of transmitters and receivers
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Mute from either transmitter or receiver
Used Gretsch G6129T Players Edition Jet Red Sparkle
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2019 Gretsch G6129T players addition in Red Sparkle. In excellent condition, with OHSC and paperwork. Roller bridge is installed, but original is included.
G6129T PLAYERS EDITION JET FT WITH BIGSBY
Flagship Jet™ Performance
For 65 years the Gretsch® Jet has fueled stages and studios, producing some of the greatest sounds in rock 'n' roll history. The all-new G6129T Players Edition Jet FT with Bigsby® is the culmination of over half a century of tonal and performance magic.
Chambered Mahogany Bodies — Fat, Full and Acoustically Rich
Like its forebears, the Jet FT begins with a select mahogany body with maple top that produces the signature strong, punchy response that has made the Jet famous. For the Players Edition Jet FT, we chose a 1.85" depth along with modern chambering to deliver a tighter, more controlled attack that still retains incredible articulation.
High Sensitive Filter'Tron™ Pickups – Classic Power and Clarity
A pair of High Sensitive Filter'Tron pickups complements the Jet FT's chambered body to produce a wide, balanced and transparent tone that is equally adept at cutting through the mix or laying solid sonic foundation.
Players Edition Comfort, Control & Performance
Responding to players' need for increased comfort, the Jet FT features a lowered neck set that greatly improves fret-hand mobility while also giving the picking hand a closer approach, increasing comfort and accuracy. Our new full-access rolled cutaway and tapered heel allows the free access to upper frets without awkward pivoting or palm obstruction. This sleek design remains hidden, preserving a vintage aesthetic – a critical feature that is meant to be felt, not seen.
The Jet FT comes equipped with additional Players Edition features that give you total control of your tone and performance, including no-load master tone pot with Squeezebox™ paper-in-oil capacitor, master volume with treble bleed circuit and individual pickup volume controls.
Used Fender American Pro Jazzmaster- Mystic Seafoam
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Pre-owned Fender American Pro Jazzmaster Mystic Seafoam with OHS case and paperwork. In like new condition, one small indentation, looks like a finish flaw from the factory near the base/strap button.
Originally intended for sophisticated jazz guitarists, the Jazzmaster was quickly embraced by musicians attracted to its left-of-center looks and fat sound. A direct descendent of the guitar that powered underground music from the late-'60s to today, the American Professional Jazzmaster is ready to lend its unique sound to your playing.
Fishman Loudbox Mini Bluetooth Amplifier
$349.95
Loudbox Mini Amplifier
Fishman’s lightest and most portable amp now with the addition of Bluetooth® wireless connectivity!
The Loudbox Mini delivers the tonal quality that has made the Fishman name the standard for great acoustic sound. The Mini packs 60 watts of clean acoustic power, and has two channels featuring Fishman’s legendary preamp and tone control designs. The amp also features digital reverb and chorus for the instrument channel and reverb for the microphone channel. The Loudbox Mini sports an MP3 input and balanced XLR D.I. output.
Loudbox Mini features:
- Bluetooth® 4.0 Connectivity
- 60 Watts with Master Volume
- Two channels: Instrument & Microphone
- Digital Reverb & Chorus
- Master Volume
- 1/4” & 1/8” Auxiliary Input
- Balanced XLR D.I. output
- Lightweight & Portable
Instrument Channel:
- 1/4” input for active or passive pickups
- Feedback-fighting Phase switch
- 3-band EQ: low, mid, high tone controls
- Reverb level
- Dual-function Chorus
Microphone Channel:
- XLR input for dynamic microphones
- 2-band EQ with low and high tone controls
- Reverb level
FEATURES & SPECS
| MODEL NUMBER: | PRO-LBT-500 |
| POWER: | 60 watts with Master Volume |
| DRIVERS: | 6.5” woofer 1” soft dome tweeter |
| SPL: | 108dB SPL @ 1 meter |
| SPEAKER BAFFLE: | 10º built-in tilt |
| DIMENSIONS: | 12” H x 13.7” W x 9.7” D (305 mm) x (348 mm) x (246 mm) |
| WEIGHT: | 21 lbs (9.5 kg) |
OPTIONAL ACCESSORIES
| LOUDBOX MINI SLIP COVER: | ACC-LBX-SC5 |
| DELUXE CARRY BAG: | ACC-LBX-CC5 |
Fishman Loudbox Performer Bluetooth Amplifier
$849.95
Loudbox Performer Amplifier
The Loudbox Performer is our most powerful acoustic amplifier, allowing you to be heard in any situation — solo or ensemble.
With the addition of Bluetooth® wireless connectivity, you can now easily and neatly add backing tracks or other accompaniment to your performances, jams, and practice sessions.
The Loudbox Performer features 180 watts of transparent bi-amplified acoustic sound and two versatile input channels that accept both 1/4” and XLR sources for instruments and microphones. Each channel includes Fishman’s renowned 3-band EQ, feedback-fighting controls, and a new effects section for more tonal options than ever before.
The dedicated midrange control provides enhanced detail and note definition over conventional 2-way designs. An improved, integrated kickstand design allows the Loudbox Performer to be tilted back 50º for better sound projection at short range.
Loudbox Performer features:
- Bluetooth® 4.0 Connectivity
- Two mic/instrument channels with 3-band EQ and feedback controls
- Bi-amplified with passive crossover for tweeter and midrange
- Long throw acoustic suspension woofer for clean bass
- 1/4” and 1/8” auxiliary stereo inputs with level control
- Dual digital effects section, with independent channel & effects level
- Reverb, Chorus, Flanger, Delay, Echo and Slap Echo
- Balanced XLR D.I. outputs on each channel and main mix
- Channel Mute to silence both input channels
- Headphone output
- Three-way speaker design with built-in 10º baffle angle
- Integrated, low profile kickstand for a tilt angle of 50º
Instrument & Microphone Channels:
- Combination 1/4” and XLR input with 10dB pad and clip indicator
- Resonant bass and midrange with shelving-style treble control
- Feedback-fighting Phase switch and Notch filter
- Phantom power for condenser mics (24-Volt, high current spec.)
- Reverb / Delay effects level
- Chorus, Flanger and Slap Echo on/off
- Dedicated effects loop
LOUDBOX PERFROMER
| MODEL NUMBER: | PRO-LBT-700 |
| POWER: | 180 watts, bi-amped |
| DRIVERS: | 1” soft dome tweeter 5” midrange 8” woofer |
| SPL: | 114dB SPL @ 1 meter |
| SPEAKER BAFFLE: | 10º built-in tilt 50º with kickstand |
| DIMENSIONS: | 18.2” H x 15.8” W x 11.5” D (462 mm) x (401 mm) x (292 mm) |
| WEIGHT: | 29.4 lbs (13.3 kg) |
OPTIONAL ACCESSORIES
| LOUDBOX PERFORMER SLIP COVER: | ACC-LBX-SC7 |
| DUAL FOOT SWITCH: | ACC-LBX-FSW |
Fuzzrocious Croak Double Filter Fuzz Martel Music Exclusive White
$189.00
CROAK- Martel Music Custom Color
Expressive Double Filter Fuzz
What does “expressive double filter fuzz” even mean? Well, there are two filters pushed by a fuzz that opens up to more control via an expression pedal jack.
PRE (P) controls the amount of FUZZ pushing into the filters. More volume pushes the filters to open up faster.
FILTER 1 sweeps the first filter from a gulpy, swallowed up sound to a fly buzzing in your brain grind. You can turn this filter OFF via the TOGGLE, allowing the FUZZ to hit FILTER 2 unobstructed.
FILTER 2 (F2) sweeps an envelope filter. As one moves the F2 pot clockwise, he/she/they can hear the “vocal/vowel quality” of the filter change. With more volume from PRE, the envelope opens faster.
VOLUME (V) controls the output level.
When the left MOMENTARY FOOTSWITCH is fully depressed and held down, the frequency range of the envelope filter (F2) immediately changes. Think of a wah going from toe-down to heel-up via a footswitch.
The EXPRESSION PEDAL overtakes the PRE (P) pot and allows one to control how much fuzz hits the filters. Almost turns the pedal into a wah that changes the vocal quality and funk/feel of the overall sound. Get weird with it!
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JHS Bender - Tonebender Replica - Legends of Fuzz Series
$179.00
BENDER
1973 MKIII TONEBENDER* REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create.
The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange “Onomatopoeia” version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors.
The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never-before-heard “JHS Mode”. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about.
If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.
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JHS Crimson - Red Army Overdrive Replica - Legends of Fuzz Series
$179.00
CRIMSON
1992 MIKE MATTHEWS RED ARMY OVERDRIVE REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In 1969, Electro Harmonix released the first “Triangle” version of the legendary Big Muff distortion fuzz. All throughout the 1970’s we see various new revisions of this famous circuit like the V2 "Rams Head” (1973), V3 “Pi” (1977), V4 “Op Amp” (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade.
In the early 90’s Mike Matthews noticed that his 1970’s Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*.
This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* “Civil War” (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history.
The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never before heard “JHS Mode”. Push that button for a mid frequency boost that forces your sound through the mix.
If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you.
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JHS Supreme - Univox Super Fuzz Replica - Legends of Fuzz Series
$179.00
SUPREME
1972 UNIVOX SUPER-FUZZ REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.
Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.
The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.
The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.
If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.
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1 Whiting Street Plainville, CT 06062
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860-479-5188
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Saturday: 11am - 4pm
Sunday: Closed
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