Tag Archives: guitars

How to date vintage fender amps

June 13, 2012

| Author: Vintage & Rare

Dating Fender Amps

1951-1967 – Tube chart on the inside of the amp is stamped with two letters (A – Q):

The first letter designates the year and the second letter designates the month.

A 1951 JAN
B 1952 FEB
C 1953 MAR
D 1954 APR
E 1955 MAY
F 1956 JUN
G 1957 JUL
H 1958 AUG
I 1959 SEP
J 1960 OCT
K 1961 NOV
L 1962 DEC
M 1963
N 1964
O 1965
P 1966
Q 1967

Mid ’70s – early ’80s – Amplifiers are dated much the same way as Fender guitars from the same era:

B + 5 digits 1975 – 1976
A6 + 5 digits 1976
A7 + 5 digits 1977
A8 + 5 digits 1978
A9 + 5 digits 1979
F0 + 5 digits 1980
F1 + 5 digits 1981
F2 + 5 digits 1982 – 1983
F3 + 5 digits 1983 – 1984
F4 + 5 digits 1984 – 1985
F9 + 5 digits 1979 – 1980

Dating Contemporary Fender Amplifiers

All Fender amplifiers manufactured from 1990 – present include a date code printed on the quality assurance (QA) sticker on the back of the amp chassis, and are dated the by the first letter as the year and the second letter as the month.

A 1990 JAN
B 1991 FEB
C 1992 MAR
D 1993 APR
E 1994 MAY
F 1995 JUN
G 1996 JUL
H 1997 AUG
I 1998 SEP
J 1999 OCT
K 2000 NOV
L 2001 DEC
M 2002
N 2003
O 2004
P 2005

ALL other Fender Amplifiers can be dated by the components inside:

In almost every Fender amplifier there are several EIA (manufacturer) codes followed by a date code, typically found on the speaker(s), transformer(s), tubes, caps, and occasionally pots. The EIA code will consist of 3 numbers followed by a date code of 3 or 4 numbers designating the year and the week. To give an example, a typical Oxford speaker from the ’60s will look something like: 465-217. 465 designating the Oxford EIA code, 2 designating the year 1962, and 17 designating the 17th week of ’62. Take a look at this ’62 Fender Princeton Amp, and you’ll see that exact speaker, as well as the typical Schumacher transformers (EIA 606) used in Fender amplifiers.

Serial Number ranges from amplifiers made between the late ’40s – late ’70s:

Bandmaster 5C7, 5D7 (tweed)
0001 to 0800 – 1953
5000 to 5500 – 1954

Bandmaster 5E7 (tweed)
S00001 to S00350 – 1955
S00350 to S01200 – 1956
S01100 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Bandmaster 5G7, 6G7 (brown)
00001 to 0100 -1960

Bandmaster 6G7, 6G7-A (blonde)
00001 to 02400 –  1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Bandmaster AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A17000 – 1965
A16000 to A22000 – 1966
A20000 to A27000 – 1967

Bandmaster AB763, AC568 (silverface)
A26000 to A29000 – 1967
A28000 to A34000 – 1968
A33000 to A34000 – 1969
A34000 to A45000 – 1970-72

Bandmaster Reverb AA768, AA1069, AA270, TFL5005 (silverface)
A31000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976

Bassman 5B6 (tweed)
0001 to 0300 – 1951
0300 to 0400 – 1952
0400 to 0600 – 1953

Bassman 5D6, 5D6-A (tweed)
0600 to 0900 – 1954

Bassman 5E6, 5E6-A (tweed)
0100 to 0200 – 1955
BM00001 to BM00550 – 1955
BM00550 to BM01200 – 1956
BM01200 to BM01600 – 1957

Bassman 5F6, 5F6-A (tweed)
BM00001 to BM00400 – 1957
BM00400 to BM01500 – 1958
BM01500 to BM03100 – 1959
BM03100 to BM04600 – 1960

Bassman 6G6, 6G6-A, 6G6-B (blonde)
BP00100 to BP01100 – 1961
BP01100 to BP05000 – 1962
BP05000 to BP08400 – 1963
BP08400 to BP12000 – 1964

Bassman AA864, AA165, AB165 (blackface)
A00100 to A03800 – 1964
A03800 to A15000 – 1965
A15000 to A25000 – 1966
A24000 to A33000 – 1967

Bassman AB165, AC568, AA270, AA371 (silverface)
A32000 to A40000 – 1967
A39000 to A49000 – 1968
A48000 to A58000 – 1969
A58000 to A60000 – 1970

Bronco AB764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975

Champion 800 (tweed)
01 to 1000 – 1948-49

Champion 600 5B1 (tweed)
01 to 1300 – 1948-49
1300 to 1700 – 1950
1700 to 5000 – 1951-52
5000 to 5500 – 1953

Champ 5C1, 5D1 (tweed)
5500 to 6600 – 1953
6600 to 8000 – 1954
8000 to 9999 – 1955

Champ 5E1, 5F1 (tweed)
C00001 to C00800 – 1955
C00800 to C03100 – 1956
C03100 to C06000 – 1957
C06000 to C08800 – 1958
C08800 to C12500 – 1959
C12500 to C15500 – 1960
C15500 to C16800 – 1961
C17000 to C19000 – 1962
C19000 to C21000 – 1963
C21000 to C23000 – 1964

Champ AA764 (blackface)
A00100 to A02000 – 1964
A01900 to A05200 – 1965
A05200 to A12000 – 1966
A12000 to A12200 – 1967

Champ AA764 (silverface)
A12200 to A13900 – 1968
A13900 to A18000 – 1969
A18000 to A30500 – 1970
A30500 to A32000 – 1971
A32000 to A35000 – 1972
A32000 to A42000 – 1973
A42000 to A50000 – 1974
A50000 to A63000 – 1975
A63000 to A85000 – 1976

Concert 5G12, 6G12, 6G12-A (brown)
00001 to 02400 –  1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Concert AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A08800 – 1965

Model 26 Deluxe (woodie)
100 to 1500 – 1946-48

Deluxe 5A3, 5B3 (tweed)
001 to 800 – 1948
800 to 1900 – 1949
1900 to 3000 – 1950
3000 to 5400 – 1951
5400 to 6800 – 1952
6800 to 7300 – 1953

Deluxe 5C3, 5D3 (tweed)
0001 to 1500 – 1953
1500 to 3600 – 1954
3600 to 5300 – 1955

Deluxe 5E3 (tweed)
D00001 to D01400 – 1955
D01400 to D03000 – 1956
D03000 to D05000 – 1957
D05000 to D06800 – 1958
D06800 to D09000 – 1959
D09000 to D10000 – 1960
D10000 to D11000 – 1961

Deluxe 6G3, 6G3-A (brown)
D00100 to D00900 – 1961
D00800 to D03800 – 1962
D03800 to D04900 – 1963

Deluxe AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A02800 – 1964
A02800 to A05600 – 1965
A05600 to A06100 – 1966
A06100 to A06500 – 1967

Deluxe Reverb AA763, AB763 (blackface)
A00100 to A00300 – 1963
A00300 to A03900 – 1964
A03900 to A13000 – 1965
A12000 to A19000 – 1966
A19000 to A24000 – 1967

Deluxe Reverb AB763, AB868 (silverface)
A24000 to A26000 – 1967
A26000 to A28500 – 1968
A28500 to A33000 – 1969
A31000 to A33000 – 1970
A33000 to A34500 – 1971
A34500 to A37000 – 1972
A37000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A43000 – 1975
A43000 to A45000 – 1976

Dual Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967

Dual Showman AB763, AC568 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968

Dual Showman Reverb AA768, AA769, AA270, TFL5000 (silverface)
A13900 to A16500 – 1968
A16500 to A22400 – 1969
A21700 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Harvard 5F10 (tweed)
H00100 to H00500 – 1956
H00500 to H01400 – 1957
H01400 to H02000 – 1958
H02000 to H02600 – 1959
H02600 to H03400 – 1960
H03400 to H03500 – 1961

Musicmaster Bass CFA-7010 (silverface)
A00100 to A04100 – 1972
A04100 to A07900 – 1973
A07900 to A09500 – 1974
A09500 to A09800 – 1975
A09800 to A10500 – 1976

Princeton 5B2, 5C2, 5D2 (tweed)
2500 to 3600 – 1953
3600 to 4400 – 1954
4400 to 4700 – 1955

Princeton 5F2, 5F2-A (tweed)
P0001 to P00350 – 1955
P0001 to P01100 – 1956
P01100 to P02400 – 1957
P02400 to P03000 – 1958
P03000 to P04300 – 1959
P04300 to P07000 – 1960

Princeton 6G2, 6G2-A (brown)
P00100 to P01000 – 1961
P01000 to P05100 – 1962
P05100 to P07200 – 1963
P07100 to P09900 – 1964

Princeton AA964 (blackface)
A00100 to A02500 – 1964
A02500 to A07000 – 1965
A05000 to A10400 – 1966

Princeton AA964 (silverface)
A10000 to A11000 – 1967-68
A11000 to A15000 – 1969-70

Princeton Reverb AA1164 (blackface)
A00100 to A02100 – 1964
A02100 to A07500 – 1965
A05500 to A14500 – 1966
A14000 to A18700 – 1967

Princeton Reverb AA1164, B1270 (silverface)
A18500 to A19500 – 1967
A18900 to A21500 – 1968
A21500 to A25500 – 1969
A24000 to A25000 – 1970
A25000 to A26000 – 1971
A26000 to A27500 – 1972
A27500 to A30000 – 1973
A30000 to A32500 – 1974
A32500 to A34500 – 1975
A34500 to A36000 – 1976

Pro 5A5, 5B5, 5C5, 5D5 (tweed)
01 to 600 –  1948
600 to 1100 –  1949
1100 to 1700 –  1950
1700 to 2500 –  1951
2500 to 3500 –  1952
3500 to 4800 –  1953
4500 to 6000 –  1954

Pro 5E5, 5E5-A, 5E5-B (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Pro 5G5, 6G5, 6G5-A (brown)
00001 to 02400 – 1960
02300 to 05100 –  1961
49000 to 58000 – 1962
58000 to 59200 – 1963

Pro AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964

Pro Reverb AA165 (blackface)
A00100 to A02700 – 1965
A02700 to A09200 – 1966
A07000 to A10200 – 1967

Pro Reverb AA1265, AB668, AA1069, AA270 (silverface)
A10000 to A10500 – 1967
A10500 to A12000 – 1968
A12000 to A13300 – 1969
A13400 to A14500 – 1970
A14500 to A15000 – 1971
A15000 to A15600 – 1972
A15600 to A17200 – 1973
A17200 to A19700 – 1974
A19700 to A20000 – 1975
A20000 to A21500 – 1976

Quad Reverb CFA7104 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Reverb Unit 6G15 (brown, blonde, blackface)
R00100 to R00900 – 1961
R00900 to R02600 – 1962
R02600 to R04800 – 1963
R04800 to R07400 – 1964
R07400 to R09800 – 1965
R09800 to R11000 – 1966

Showman 6G14, 6G14-A (blonde)
00001 to 00350 –   1960
00200 to 00800 –  1961
00800 to 01500 –  1962
01500 to 01800 –  1963

Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967

Showman AB763 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968

Super incl. Dual Professional (tweed)
01 to 400 – 1946-47
500 to 1200 – 1949-51
2000 to 4300 – 1952-53
4500 to 5500 – 1954
5500 to 6100 – 1955

Super 5E4, 5F4 (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959

Super 5G4, 6G4, 6G4-A (brown)
00001 to 02400 –   1960
02300 to 05100 –  1961
49000 to 58000 –  1962
58000 to 59200 –  1963

Super Reverb AA763, AB763 (blackface)
A00100 to A00600 – 1963
A00600 to A06000 – 1964
A05900 to A13000 – 1965
A11000 to A20000 – 1966
A20000 to A27000 – 1967

Super Reverb AB763, AB568, AA1069, AA270 (silverface)
A26000 to A29000 – 1967
A27000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976

Super Six Reverb CFA7106 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Tremolux 5E9, 5E9-A (tweed)
0001 to 00650 –  1955
00650 to 01000 –  1956
01000 to 01300 –  1957
01300 to 01700 –  1958
01700 to 02700 –  1959
02600 to 03300 –  1960

Tremolux 6G9, 6G9-A, 6G9-B (blonde)
00100 to 01000 –  1961
00900 to 04200 –  1962
04200 to 05900 –  1963

Tremolux AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A03700 – 1964
A03200 to A05700 – 1965
A05200 to A08000 – 1966

Twin 5C8, 5D8, 5D8-A, 5E8, 5E8-A (tweed)
001 to 500 – 1953-55A00200 to A00725 – 1956-57

Twin 5F8, 5F8-A (tweed)
A00010 to A00725 –  1957-59

Twin 6G8, 6G8-A (blonde)
00001 to 00100 –  1960
00100 to 00225 –  1961
00225 to 00400 –  1962
00400 to 00525 –  1963

Twin Reverb AA763, AB763 (blackface)
A00100 to A01200 – 1964
A01200 to A04300 – 1965
A04300 to A07000 – 1966
A07000 to A10400 – 1967

Twin Reverb AB763, AC568, AA769, AA270 (silverface)
A10500 to A11300 – 1967
A10500 to A16500 – 1968
A16500 to A21400 – 1969
A21400 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 19760100 to 3400 – 1970

Vibrasonic 6G13, 6G13-A (brown)
00001 to 00350 –  1960
00200 to 00800 –  1961
00800 to 01500 –  1962
01500 to 01800 –  1963

Vibro Champ AA764 (blackface)
A00100 to A02000 – 1964
A01200 to A08100 – 1965
A08100 to A16000 – 1966
A16000 to A20500 – 1967

Vibro Champ AA764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975
A51000 to A53000 – 1976

Vibrolux 5F11 (tweed)
F00001 to F00300 – 1956
F00300 to F00900 – 1957
F00900 to F01500 – 1958
F01500 to F02800 – 1959
F02800 to F04000 – 1960
F04100 to F04400 – 1961

Vibrolux 6G11, 6G11-A (brown)
00100 to 00700 – 1961
00700 to 03700 – 1962
03400 to 05500 – 1963

Vibrolux AA763 (blackface)
A00100 to A01300 – 1964

Vibrolux Reverb AA864 (blackface)
A00100 to A00800 – 1964
A00800 to A03600 – 1965
A03600 to A08300 – 1966
A08300 to A10700 – 1967

Vibrolux Reverb AA864, AA964, AB568, AA270 (silverface)
A10700 to A11000 – 1967
A11000 to A12000 – 1968
A12000 to A13700 – 1969
A13700 to A23400 – 1970
A23400 to A24500 – 1971
A24500 to A25000 – 1972
A25000 to A27000 – 1973
A27000 to A31500 – 1974
A31500 to A33000 – 1975
A33000 to A34000 – 1976

Vibrosonic Reverb (silverface)
A44000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976

Vibroverb 6G16 (brown)
00100 to 00600 – 1963

Vibroverb AA763, AB763 (blackface)
A00100 to A05300 – 1964

Typical Speakers found inside most Fender Amps:

Bandmaster 5C7, 5D7 (wide panel): Jensen P15N
Bandmaster 5E7, 6G7 (3×10): Jensen P10R, P10Q, Oxford 12K5R-1
Bandmaster 6G7-A: Oxford 12M6, Jensen C12N
Bandmaster AB763 and silverface: Oxford 12T6, Jensen C12N, Utah 12″
Bandmaster Reverb Silverface: Oxford, Utah 12″Bantam Bass Silverface: Yamaha trapezoidal
Bassman 5B6, 5C6: Jensen P15NBassman 5D6, 5E6-A, 5F6, 5F6-A: Jensen P10R, P10Q
Bassman 6G6 , 6G6-A, 6G6-B: Oxford 12M6; Jensen C12NBassman AA864, AA165: Oxford 12T6; Jensen C12N; Utah ceramic
Bassman Silverface: Oxford 12T6; Utah; Rola
Bassman Ten Silverface: CTS 10″ ceramic
Champ 5C1, 5D1: Cleveland 6″ alnico, Jensen P6T
Champ 5E1, 5F1: Oxford 8EV; Jensen P8T; CTS 8″ alnico
Champ AA764, silverface: Oxford 8EV
Concert 5G12, 6G12: Jensen P10R, P10Q
Concert 6G12-A: Jensen P10R, P10Q, C10R; Oxford 10K5
Concert AB763: Oxford 10K5, 10L5; Utah V10LXC1
Deluxe 5B3, 5C3, 5D3: Jensen P12R
Deluxe 5E3: Jensen P12R, P12Q
Deluxe 6G3, AB763: Oxford 12K5-6
Harvard 5F10, 6G10: Jensen P10R
Musicmaster Bass Silverface: CTS 12″ ceramic; Oxford 126PJ4
Quad Reverb Silverface: Oxford 12T6; Utah V12PC; Rola
Princeton 5C2, 5D2, 5F2, 5F2-A:Jensen P8T; Oxford 8EV; Cleveland 8″
Princeton 6G2, AA964: Oxford 10J4; Jensen C10R
Princeton Silverface: Oxford 10J4
Princeton Reverb AA1164: Oxford 10J4, 10L5; Jensen C10R, C10N
Princeton Reverb Silverface: Oxford 10J4; CTS
Pro 5A5: Jensen F15N (field coil), P15N
Pro 5B5, 5C5, 5D5: Jensen P15N
Pro 5E5, 5E5-A: Jensen P15N
Pro 6G5, 6G5-A: Jensen P15N; Oxford 15M6
Pro AB763: Jensen C15P; CTS 15″ ceramic
Pro Reverb AA165: Jensen C12N; Oxford 12L6
Pro Reverb Silverface: Oxford 12L6, 12T6; Utah, Rola 12″ ceramic
Showman 12 6G14, 6G14-A, AB763: JBL D120F with tone ring
Showman 6G14, 6G14-A, AB763: JBL D130F with tone ring
DualShowman AB763: JBL D130F
Dual Showman Rev Silverface: JBL D130F
Super 5B4, 5C4, 5D4, 5E4, 5E4-A: Jensen P10R
Super 5F4: Jensen P10R, P10Q
Super 6G4, 6G4-A: Jensen P10R, P10Q; Oxford 10K5
Super Reverb AA763, early AB763: Jensen C10R
Super Reverb AB763, silverface: CTS 10″ alnico or ceramic; Oxford 10L6; Rola 10″ ceramic
Super Six Reverb Silverface: Oxford 10L6; CTS 10″ alnico
Tremolux 5E9-A: Jensen P12R; P12Q
Tremolux 6G9, 6G9-A: Jensen P10Q or Oxford 10K5R w/tone ring
Tremolux 6G9-B: Oxford 10K5
Tremolux AB763: Oxford 10K5, 10L5; CTS 10″ ceramic
Twin 5C8, 5D8, 5E8-A: Jensen P12R; P12Q
Twin 5F8, 6G8: Jensen P12N
Twin 6G8, 6G8-A: Jensen P12N; Oxford 12M6
Twin Reverb AB763: Jensen C12N; Oxford 12T6
Twin Reverb Silverface: Oxford 12T6; EV; Gauss; Utah; Rola
Vibro Champ/Bronco: Oxford 8EV
Vibrolux 5E11, 5F11: Jensen P10R
Vibrolux 6G11, 6G11-A, AB763: Oxford 12L6, 12M6
Vibrolux Reverb AA864, AA964: Jensen C10Q; Oxford 10L5
Vibrolux Reverb Silverface: Oxford 10L5; CTS 10″ alnico
Vibrasonic 5G13, 6G13-A: JBL D130, D130F
Vibrosonic Reverb Silverface: JBL D130F, K130F; Gauss; EV
Vibroverb 6G16: Oxford 10K5
Vibroverb AA763, AB763: JBL D130F; Jensen C15N; CTS 15″ ceramic

Video Interview with Nels Cline from Wilco

June 6, 2012

| Author: Vintage & Rare

Nels Cline is an American Guitarist and composer well known for his general involvement in the west coast’s improvisation community and since 2004 for being a member of the band Wilco. He was named the 82nd greatest guitarist of all time by Rolling Stones magazine in November 2011, and the 43rd greatest guitarist of all time by Spin magazine in May 2012.

Premier Guitar has interviewed Nels Cline about the guitars, Amps and Effects he enjoys using.

Enjoy!

Would you like to add something about Nels Cline? Please leave a comment…

Thunder Road Guitars interview with Frank Gross from Thunder Road Guitars

January 11, 2012

| Author: Vintage & Rare

Hi Frank, thank you for taking your time to speak to us. Could you please tell as a little bit about Thunder Road Guitars? Where are you located?
Hello Vintage and Rare! Thunder Road Guitars is an online-based guitar shop by musicians for musicians. We buy, sell, trade and cosign guitars and amplifiers with folks all over the globe. We opened our doors January of 2012 and have loved every moment of it since. We are located in Seattle, Washington, USA.

What initially motivated you to set up a music store, and when was that?
I’ve worked in music shops since I was old enough to have a job and have always had a love and passion for great guitars. I have managed a well-known Seattle vintage guitar shop and have also worked for a US chain store. I learned a lot working for both companies and eventually decided to open my own store this January. My favorite thing about independent music stores is the “shop culture” – the things that happen day to day, the guitars that come in and go and the interesting folks you meet. I love it! At Thunder Road we try and give our customers that same experience online by offering great customer service and a very personal approach. I’m very hands on and if you are buying a guitar from us more than likely you will speak to me directly.

What has been the biggest challenge in setting up your shop?
The biggest challenge for me was to take this dream of mine and make it a reality. I’ve always dreamed of owning my place, but there’s a lot of risk involved when you start any new business. Like I mentioned earlier I have just opened my digital doors to the world, but so far so good.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
I’ve shipped a lot of guitars between the US and Europe in my time buying and selling instruments and I think it’s unfortunate that the “Lacey Act” has created the issues that it has. I’ve seen it scare off customers and make it harder for someone like myself or other dealers out there to share great Brazilian rosewood vintage instruments with customers around the globe. With that said, it seems that if you can provide proper documentation of your instrument and show that it was built before a certain time period then you will be fine shipping, or so I’ve heard.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I sure do. I started my first band at age eleven, before I could even really play guitar. Since then I’ve been lucky enough to play in two professional bands, put out records, tour the US for what seems like a million times, and also tour Europe. One time on tour with my band in Europe the border guards in Croatia didn’t want to let us in because we didn’t have work visas so we bribed our way in with CDs, T-shirts, and other merchandise. We ended up making it across the border and rocked a great show. I’ve had some pretty amazing experiences playing music. I am very grateful for my experiences and feel lucky for the opportunities I’ve been given through music.

What do you consider the biggest challenge for dealers of musical instruments today?
I would say the biggest challenge is also one of the greatest strengths, and that is globalization. When I first started working in this field the primary option someone would have would be to walk into a brick and mortar store to pick out a guitar. Now they have the entire world’s instrument supply at the click of a button. For us this has been a good thing because it allows us to connect with buyers worldwide, but it is also challenging because there is much more competition for sales.

How do you choose what products to carry?
I carry instruments that I like, plain and simple. I’m a big fan of American and import vintage guitars and amplifiers from the 50s, 60s, and 70s as well as modern custom shop instruments from Gibson, Fender, Martin, Gretsch, Marshall, Dr. Z, and Orange. Right now Thunder Road offers used and vintage instruments, but in the near future we will be expanding to include boutique guitars and amplifiers.

What role has technology (the internet, your website, etc.) played in the success of your business? Do you use social media channels to promote your business?
Technology is huge for us as we are an Internet based business. Without the huge role the Internet now plays in instrument sales it would have been much harder for Thunder Road to get off the ground. We use social networking as a source of promotion as well as a way to connect with our customers and keep them updated on new and exciting instruments we acquire.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
We sell guitars and amplifiers to folks all over the globe. Some touring musicians, some recording musicians, and some hobby rockers. The thing they all seem to have in common is a passion for great guitars. I love how into guitars my customers are and love talking with them about music, life, and instruments.

You are known for your dedication to providing a good customer service. What advice do you give to somebody looking to purchase an instrument from you?
Being a musician myself I would not want to carry or sell an instrument that I wouldn’t feel comfortable personally owning or playing. Being a business owner I want to give my customers the same experience I would expect from a guitar shop. We go to great lengths to get to know everyone who crosses our path, whether it is selling them something or a simple inquiry asking about a guitar. We want people to feel comfortable when they work with us and feel as though they’re getting a great guitar from a great shop.

Any famous last words?
I want to thank the fine folks at Vintage and Rare for this interview and thank you (the reader) for taking time out of your day to read about Thunder Road Guitars. Please check out our website: www.thunderroadguitars.com/

Airline H8396 – 1960s Sunburst
Gibson ES335 – 1965 Cherry Red
Gibson GA18T Explorer – 1960

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Kari Nieminen/Versoul Interview

January 27, 2011

| Author: Vintage & Rare

At Vintageandrare.com we would like to introduce a new feature on our blog: The V&R-interviews. The purpose of this is to give a slight introduction to some of the amazing people, who build, sell or just plainly love their instruments as much as we do.

Our first headliner is the renowned Kari Nieminen, who is the mastermind of  the magnificent Versoul, residing in Helsinki, Finland. Karis stringed instruments has attracted a lot of attention from some cool customers, and here, Kari lifts the shroud on what lies behind his success in the business.

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A closer look at the rockin’ custom made Raya for Billy Gibbons – Photo by Versoul

Hello, Kari, and thanks for taking your time for this interview. Could you tell us, what initially made you become a luthier?
I started carving wood at age of three in 1963 and when I built my first guitar in 1973 it was technically an easy switch. I have been addicted to music since early 1970′s. Music has been a generator for my career; rock, blues and soul are the most important styles. At 17 I got my first guitar order and after since I have been experimenting with materials and technics. At 20 I built my first acoustic influenced by The Everly Brothers guitar sound.
I’m educated as an industrial designer and a self learnt guitar builder, so my approach to guitar building is different compared to traditional luthiers. I’m always searching and developing new concepts and ideas for new instruments, which are based on deep knowledge and analysis of guitar history and evolution.

Raya6_Baritone_electric_guitar_Versoul-1

What has been your biggest challenge?
You have to be very patient since it takes at least 10 years to get more renowned and establish your brand at certain level. When you are a one man company you have plan your time and resources carefully. A major part of my work is communicating with clients and travelling to meet up with musicians and media for Versoul promotion.

What is your biggest dream of building someday?
Well, I’m only trying to make better instruments for open-minded musicians who would then use them as tools in the creative process of making immortal music.

Which was the first instrument you made?
I was about 13 years old in 1973 when I built my first guitar, an electric solid body at home. You may find a picture of it at my website’s gallery. (We did, red).

Kari and his first, selfmade electric guitar – Private photo

What instrument have you been most proud of?
There are several instruments, actually.
There are the Kenny Burrell Jazz Models: A “Kenny Burrell Jazz Model 6-string” and a “Kenny Burrell Jazz Model 12-string” acoustic guitars made for jazz-guitar legend Kenny Burrell. I have also made a series of custom Raya electric guitars for ZZ Top-guitarist Billy F Gibbons, which made him so pleased that he named the models as ‘Raya Billy F Gibbons Blue Light Specials‘. Also I have built three custom 10-string guitars for Keith Richards during the last three years. Dusty Hill of ZZ Top bought my one of kind Raya Blue Light Bass in 2009 and keeps it at his living room with his favourite basses. My first important customer was Amancio Prada, a well respected Spanish artist, who ordered and plays my Touco Classical guitar. We have to remember that Spain is the home of the classical guitar and Amancio already owned the best, historical Spanish classical guitars. That order meant a lot.

What type of wood is your preferred, when building an instrument?
Of course the quality is important, wood have to be well seasoned and cut right. I use East Indian rosewood for fingerboards, back and sides & parts for acoustics and electrics. Also a bit of ebony fingerboards and parts. Red cedar and spruce for acoustic tops. Alder for electric guitar and bass bodies. Maple and aspen for neck material. Also curly and very rare visa birch for electric guitar tops. During last ten years I have been experimenting with domestic woods: alder and aspen. We have to remember, ecological aspects are more and more important, since certain tropical hardwoods have been over cut and are in danger of disappearing and have fortunately been protected. Therefore I do not use mahogany anymore.
The most essential thing about building guitars, is to use the right construction materials in balance with lightness, stiffess, resonance, flexibility, all combined with aesthetic aspects.

How did you get in touch with people like Ronnie Wood, Roger Daltrey and Billy Gibbons?
Around 2000 I got a great dealer, Westwood Music from Los Angeles. The owner, Fred Walecki, had very nice contacts and plenty of hi-end customers. Roger Daltrey was one of them. He got very excited by my Buxom acoustic guitar and wanted to help me, so he called Alan Rogan, a highly respected guitar technician. Alan has worked with George Harrison, Pete Townshend, Eric Clapton, AC/DC, John Fogerty, Joe Walsh, Keith Richards; etc.

Kari and Ronnie Wood – Photo by Alan Rogan

So, I sent two guitars to Alan and he was very impressed. First he introduced Versouls to Ronnie Wood. According to Rogan, Ronnie hardly even get excited by guitars, but after checking the Versouls, he immediately wanted to buy both. Since then, Ronnie has bought 6 other Versouls.
In 2006 I bought Billy Gibbons’ book ‘Rock’n’ Roll Gearhead’ and that inspired me to build a special Raya guitar with a Blue Light and perforated steel sides in a gold leaf finished body.
After one round of trying to get in touch with Billy, his long time friend Elwood Francis contacted me by chance. Elwood was working for Rich Robinson of Black Crows. Anyway, nice timing, so I sent some photos of the Raya Blue Light to Elwood and immediately afterwards, Billy wanted to buy it.

Were they demanding customers?
Yes, after all guitar is a communicating tool for them. Ronnie knows exactly what he wants; not only sound wise, as he is a visual artist himself, who understand aesthetic values a great deal. Also Billy Gibbons has played hundreds of guitars, and he’s very hard to please sonically and visually. Besides this, Billy has very creative ideas of guitars.

What did they like about your specific style of building guitars?
Ronnie and Billy both like the Versoul uniqueness: The sound and playability & ergonomics combined with unique artistic features.
Ronnie Wood has bought two Raya Electric Baritones 6 string models, Raya Blue Lite Electric Guitar, Buxom 12 Acoustic Guitar (my gift to Ronnie when he turned 60) and a Henry Gold Leaf Top Electric Guitar.
These Versouls he used on the Bigger Bang Tour with The Rolling Stones.
In addition to this, he has bought Buxom 6 String Acoustic Guitar, which he for example used in the BBC Documentary about him. Also he has bought Resosun 6 String Electric Acoustic resonator guitar and Raya Electric and Buxom Acoustic Baritones, both 12 String Models.

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The custom made Raja guitars for Billy Gibbons – Photo by Versoul

The first guitar, Billy bought, was the above mentioned Raya Blue Light. a solid body guitar in gold leaf finished body. Right after that, he ordered two Raya Custom versions with chambered bodies and Les Paul scale length and all gold leaf finish, body and neck with chrome hardware. Billy was so pleased with his new Versouls that he named the model as Raya Billy F Gibbons Blue Light Special.
A year later he bought a Baritone 6 string version of the model concerned. In the summer of 2010 Billy then bought a Black finished Raya Billy F Gibbons Blue Light Special with gold hardware.
Billy has used his Versouls both on ZZ Top Tours and several other performances, like at the Goodwood Festival of Speed in the UK in 2010 with Jeff Beck and Jimmie Vaughan.

Visit Kari and Versoul at his website and have a look at the awesome craftmanship. It made Ronnie Wood and Billy Gibbons turn their heads, and yours will too. You should also check our current list of our associated dealers at Vintageandrare.com.