Below is all my guitars and amps - plus other misc. gear. More to be added.

First let me say I am not a "collector". But do suffer from G.A.S. (Gear Acquisition Syndrome Ha-ha). Never really cared about vintage or value. Simply know what I like and actually prefer new(er) instrument that no one else has "beat on".  

1980 Les Paul Custom nicknamed "Queenie". All original. Pick-up covers removed. One thing that attracted me to it was that it's the only LP Custom I've encountered that came from the factory with nickel hardware instead of gold. Second hand from a local music store. Plays like dream and sustains forever.

1992 - Flying V '67 re-issue. What can I say, Leslie West, Andy Powell (Wishbone Ash), J. Geils, Dave Davies, Michael Schenker, even Jimi Hendrix played Flying Vs. It's almost a shame the 80s Heavy Meddlers made them so comman place.

All original. Pick-up covers added.  Second hand from a private Ebay seller. This guitar was used as a volume / tone knob template for the Dean Michael Schenker prototypes and eventual factory issues. As he wanted the knobs exactly like the Gibsons he had played throughout his career.

1992 Firebird V reissue. All original. Except I had the raised front of the headstock custom painted to match my Thunderbird (seen below). I've loved these guitars ever since seeing Johnny Winter with one. Second hand from a Firebird collector. Not many have come from the factory in black.

1992 Les Paul Special. Second hand cheap from a private seller on Ebay. Love it. Has P-100s which is a humbucking version of the P-90s. Still has that gorgeous midrange scream. 

2002 EDS-1275 My "Holy Grail". Nicknamed "Deuce". Regardless of Jimmy Page and John McLaughlin making these icons, Alex Lifeson of Rush and Don Felder (Eagles) had  white ones in the late 70s. Apparently Gibson did a limited run of them in 2002.  Bought new. Spotted a seller on Ebay who had several with a "Buy It Now" option. I didn't hesitiate. Arrived perfectly in tune - never opened from the factory.  Besides the Les Paul Custom, I couldn't live without this guitar.

1967 (mutated / mutilated) Melody Maker Deluxe. Bought second hand from a music store. The original owner removed the factory P-90 pick-ups, routed the body and installed PAFs. I wasn't fond of the beat up cherry red finish or the double horn body shape. So I stripped the finish and in a bizarre moment of inspiration put it to a table saw. You see the results which I've renamed "Widow Maker". A PAF is in the neck position and a P-125 (P-90, but humbucker size) in the bridge which is a Leo Quann Badass bridge. Plus white speed knobs and a new scratch plate. It plays and sounds so good. But basically nothing original is left.

2002 ES-335. Bought it new off the rack at the local Sam Ash store. As a big Alvin Lee and Andy Scott (Sweet) fan, I always loved 335s. But this was the first one I'd ever seen in black. Plays like a dream and has that unique "honk" tone. But to be honest, I'd prefer a more elaborate 345 with block inlays, rotary slector switch and a Bigsby. But wasn't thrilled with the B.B. King "Lucille" model (it didn't have F holes). Regardless, I love this guitar.

That's all my 6 string electrics (and enough too, I imagine you're saying).

1976 (Bi-Centinial) Thunderbird IV. Bought from the original owner in 1981. It's had new pots installed. It was originally Tobacco sunburst. It's been refinished at least 5 times. Finally got a professional to do it black 3 years ago with the offsetting white headstock. It's also fretless from the 7th fret up. I ground the frets leaving the fretwire showing. Most don't even realize this until they play it. It's the best of both worlds and has been my main bass since acquiring it. Very much influenced by Mott The Hoople's Overend Watts and Martin Turner (Wishbone Ash).

1975 Les Paul Bass (aka Victory Bass and Recording Bass). Original lacquered white finish has yellowed to almost a "TV Yellow". It's switchable from low to hi impedence and via the various switches and knobs have a wide variety of sounds. With the hi impedence selected, this "SOB" is loud. The output is almost too "hot". It's definitely a Les Paul. The action is better (almost scary) than many guitars I've played. Bought it from a 2nd hand owner on Ebay 4 years ago.

2003 Dean Cadillac bass. Made in Korea. Bought it shortly after working at Dean. Has active electronics which I may by-pass. But it plays fantastic. I replaced the original knods with spped knobs to give a bit more of a Gibson look.

1999 Epiphone PR-5 Electric Acoustic - Korean made. Bought 2nd hand from a Nashville musician on Ebay (2000). I never owned an acoustic (only electrics). So I spotted this on Ebay and really liked the body design. With Elixir strings on it, it's a sweet player. But the Shadow pre-amp is crap. I'll probably switch it out with a Fishman. In the meantime, it's a good acoustic with a warm natural sound. Until I someday acquire a Jumbo Gibson (probably won't happen).

Marshall JCM 2000 DSL - 50w w/ 1960A slant cab 75w Celestions. Love this amp. Got to have "valves" for a real tone. Though I prefer the "Classic Crunch" chanel. The modern overdriven one, I use for clean.

On top is a Randall 150w solid state (logo removed). It sounds okay at best. Got it cheap and thought it looked cool with the fake snakeskin tolex. Thought it could always serve a back-up if needed.

Fender Super Champ - 60w. The distortion channel sounds horrible. But once again, got it cheap & the snakeskin. Usually plug the lap and pedal steel into this (clean channel only).

Also a Pignose. Got it because I read Michael Schenker used one to record UFO's 1977 Lights Out LP. They must have used a lot of desk effects (ha-ha).

The Randall again.

Marshall AS50R Acoustic instrument amp - 50w. 2 mixable channels (1 for instrument - 1 for mic or low impedence). Includes Chorus and reverb. With the anti-feedback notching setting, this thing sonds phenomenal. Almost a surround sound effect.  I hope to plug a 12 acoustic into it sometime soon.

Marshall keyboard combo amp - 150w w/ horn & 15" speaker. 4 mixable channels. Even makes for a decent bass amp.

Hartke 3000A 300w with tube preamp. W/ 2 VX 4x10 cabs w/ horn. For the money, an awesome bass amp. Had to have at least a tube preamp. Just can't tolerate solid state amps at all anymore. Not even for bass. It has to have that warmth that only tubes provide.

Sabine RT 7000 rack tuner. Furman power conditioner.

Roland U-20 (top) and Korg Triton LE 61 with sequencer (bottom). I bought the Roland in 1990 and after about 3 years I had to start cleaning the contacts (repeatedly) due to dead keys. That process is always a major hassle. So I finally said "screw it" and bought the Korg 2 1/2 years ago. What an amazing machine it is. Has the old analog synth ocillators(?) to do all the early 70s crazy Moog / Arp sounds like Emerson, Wakeman, Edgar Winter, etc. Plus numerous awesome Hammond B-3 sounds. This thing has everything but the kitchen sink. And actually wasn't that expensive considering all it can do.

Supro double neck lap steel. I have no idea how old this is. Haven't found any way of trcing the serial #. But it has to be late 1950s. Due to the output connector which is a male screw on high impedence. Requiring a female scew on to female 1/4" connector for plugging into a amp. I replaced the old plactic knob 3 in line tuners with mini Grovers.

A Theramin (a what?). It's that gizmo that you hear in the break during "Whole Lotta Love" and countless 1950s Sci-Fi movies. Why do I have one? I dunno. Came across "The Theramin Guy" on Ebay. He builds and sells them for $75. He offers them in plan black or "meltdown" psychadelic. You see which one I got. Added a short mic stand base to sit on top of an amp. I thought it might be cool to use onstage. Plugged in clean, it sounds rather silly and annoying. But through distortion and delay, it's exactly like "Whole Lotta Love".  Plus it dosn't require much practice. Just knowing how to waive your hand.

Boss BR 8 Digital studio. 8 tracks with 64 vitual tracks. Records on Zip cards. Very user friendly demo machine for guitarists / bassists featuring a drum machine, amp modeling, effects (instruments & vocals). Sorry, the photo a little blurry.

Zoom Rhytmtrack 234. I hate drum machines and especially hate having to program them. But will admit this one is very user friendly and has excellent "real" drum sounds.

Yamaha 1/2 rack R 100 Effects processor. Nice little unit.

Thanks for looking!