Guitars That Changed Your Life:
- Thread starter Inspector #20
- Start date
Changed my life? Hands down it would be Burla, my G-400. I bought her new in 2011 so I could teach my grandson how to get started playing guitar. I have spent more money on mods than I paid for the guitar brand new from GC. Burla got me started with the 7 guitar collection that I have today (not counting a few that have come and gone) as well as 2 tube amps, 2 SS amps and a few pedals. If I did not have Burla I would not have joined ETSG, I would not have met y'all and I would not have built this site. So blame it on Burla.
Tony M.
Ambassador
I am an idiot.
I see the thread, decide to put my 2 cents in and go totally off topic.
Topic is guitars that changed your life and I tell why I play SGs.
DUH!
I'll try again.
(Mists of time music starts...)
I remember it like it happened yesterday.
A long long time ago, (freshman orientation for High School in fact).
All of us strangers packed into an auditorium.
Lights go down. Curtain opens a little bit and there's a guy
standing downstage center with a guitar on.
but...
It's an electric guitar (a Fender Jazzmaster as a matter of fact. I know that now).
Suddenly the room fills with a sound I have never heard before.
It takes my breath away and as I look up I see that the guy is having a ball up there.
I knew right then and there.
"I want to do to people what he just did to me and have the kind of fun he is having doing it".
The curtain opens all the way and the rest of the band comes in.
I am lost in a new world.
Many many years have gone by.
I am still having fun and still doing to others what he did to me.
(Thank you Joe C., wherever you are.)
So, the guitar that literally changed my life was a Fender Jazzmaster
of unknown origin played by a total stranger in September of 1960.
I see the thread, decide to put my 2 cents in and go totally off topic.
Topic is guitars that changed your life and I tell why I play SGs.
DUH!
I'll try again.
(Mists of time music starts...)
I remember it like it happened yesterday.
A long long time ago, (freshman orientation for High School in fact).
All of us strangers packed into an auditorium.
Lights go down. Curtain opens a little bit and there's a guy
standing downstage center with a guitar on.
but...
It's an electric guitar (a Fender Jazzmaster as a matter of fact. I know that now).
Suddenly the room fills with a sound I have never heard before.
It takes my breath away and as I look up I see that the guy is having a ball up there.
I knew right then and there.
"I want to do to people what he just did to me and have the kind of fun he is having doing it".
The curtain opens all the way and the rest of the band comes in.
I am lost in a new world.
Many many years have gone by.
I am still having fun and still doing to others what he did to me.
(Thank you Joe C., wherever you are.)
So, the guitar that literally changed my life was a Fender Jazzmaster
of unknown origin played by a total stranger in September of 1960.
chilipeppermaniac
Ambassador of Decibels
Tony et al.... I like how a few chunks of wood, metal, wire and strings can not only bring great pleasure to those who play them, but also to audiences and even bring strangers like all of us together to become friends all over the world.
To me, this really qualifies as life changing as is witnessed by our stories.
To me, this really qualifies as life changing as is witnessed by our stories.
OP
My 2016 Gibson SG changed my life too, but not in a good way.... 
Bocc69
Ambassador of Metal Health
I grew up in a large family of musicians. Piano, bass, trumpet, trombone, drums, etc....but the only guitar floating around was a classical my dad played. I never touched it.
But, then OB started a band with my brother, the "OB System".
OB played a Les Paul, and I couldn't believe it. To me, it was mind blowing. He didn't clip the strings, and they were flopping all over the headstock.
I quit the drums there and then. My mom bought me a used les paul copy for $50, and I was officially a guitar player.
I recently dug up a cassette of OB playing their best tune, "The OB Strut", well as it turns out, OB really sucked.....I now know not clipping the strings is friggen stupid.....And i got in trouble hanging out with my big brothers friend, OB! .....But it doesn't change the fact that, OB and his Les Paul changed my musical life.
But, then OB started a band with my brother, the "OB System".
OB played a Les Paul, and I couldn't believe it. To me, it was mind blowing. He didn't clip the strings, and they were flopping all over the headstock.
I quit the drums there and then. My mom bought me a used les paul copy for $50, and I was officially a guitar player.
I recently dug up a cassette of OB playing their best tune, "The OB Strut", well as it turns out, OB really sucked.....I now know not clipping the strings is friggen stupid.....And i got in trouble hanging out with my big brothers friend, OB! .....But it doesn't change the fact that, OB and his Les Paul changed my musical life.
Col Mustard
Ambassador of Perseverance
A long time ago, in a galaxy far away, I was a married man whose
life and marriage was going down the tubes. I married a woman I loved
intensely, and that relationship was so fierce in both positive and negative
ways, it burned out before either of us knew what was happening.
In the aftermath, I was devastated, depressed, considered suicide seriously,
... desperately unhappy. I was also broke and found a small 'studio' to live in
while I tried to pay off debts. I gave our car to her, she was in similar mental
straits and trying to take care of our daughter too. What a mess.
But I saw an ad for a Fender bass for sale, and thought of it as a life ring.
I had been listening to bass lines in all the songs of the time, since I was about
fourteen. I knew a lot of guys who played guitar, but no one else who played bass.
Growing up just outside of Detroit, the Motown pulse was always there, and I
knew I'd be a good bass player.
I had always been into music and played guitar with friends while supposedly
concentrating on "important' duties like schoolwork and working jobs that would
pay me enough to afford college tuition and kid expenses. My parents had always
tried to discourage me from my music, thinking rightly that it would distract me from performing the 'important' things, like passing math and science tests, and writing academic papers.
It didn't work. Music was always in my soul, even in the darkest of times.
But I gave up college after my divorce, and concentrated on paying off debts.
I decided to live as simply as possible, and pay the debts before planning my future, if any.
Walk to work, or ride a bicycle. Maybe I could get in a band or something...
I couldn't afford a new guitar... but if a guy was selling a Fender bass, I was
interested. That sound was in my blood. After giving up so much, I felt pretty radical.
Farewell, cruel world, I'm off to join the circus. I'll find myself a rock an roll band
that needs a helping hand (hah)...
So I put five twenties in one pocket of my jeans, and one more in the other pocket.
And I went to see the man about the bass. This was in like 1972.
He looked about as desperate as I felt. The bass was under his bed. He pulled out the case
...it was a classic Fender rectangular case, black tolex with chrome Fender logo on it.
My heart began pounding, although I acted quite nonchalant. The case was dusty, no one
had been pestering him to buy this instrument. I opened the case, trying not to tremble.
The inside was orange fabric, it looked in good shape. I picked up the instrument. It was
a sixties sunburst style, black, yellow and red. I disliked the color but I wanted that bass.
He said, "It's a Sixty Six..." To me, then, that just meant it was old. As in "out of date..."
Nobody was worshipping them then.
I looked at the neck. It was visibly bowed, as if the instrument had been under that bed
in damp conditions for a long time. I squinted down it and shook my head.
"I don't know, man... I might have to buy a new neck for this. It's pretty warped.
I'll give you a hundred bucks..."
He hummed and fidgeted around for a bit. He had wanted more money for it, I don't remember
how much. But the $100 was a lot of money for me at that time. AND it was actually a fair price.
A new CBS Fender Jazz Bass might have cost $350 at that time. The hundred was NOT an insult
even if it was a lot less than he wanted.
I put my hand into my jeans and pulled out the cash, and showed it to him.
"This is all I got, man... what do you say?"
He took the five twenties, and shook my hand. I put the Fender back into the case, and closed
it. It was mine. I left his place with the other twenty dollar bill still in my pocket, and walked a
about ten blocks or more down to a guitar shop run by a guy named Dan Erlewine. He had opened
it recently, and I'd heard good things about him but had never walked in. I'd been busy with my
life going aground on a lee shore, and battering itself to bits on hard rocks.
After walking that far, I had learned an appreciation for the bass player's job, which is to carry
heavy things about. I switched hands back and forth, humming "Heavy music, heavy music, heavy music, MUSIC..." I showed the Fender to Dan, and he squinted at it and turned it this way and that,
and looked carefully at everything. He said he thought the neck would be okay, and I wouldn't have to
buy another one. (I had prepared myself to buy one, not knowing if a bowed neck could be put right).
He told me to come back the next day.
I did... and my new old bass was set up perfectly, and the neck was straight and has never given any more trouble since that day in 1972. Dan charged me $5.00, saying it was an easy fix with the truss rod.
He also said that the frets were okay, and everything looked good and the bass ought to play fine.
That was a long time ago. I've been playing that bass ever since, and I still have it. I did join a band
as soon as I could, playing blues. Which is a good way to begin. We played frat-house parties and dances, and I learned my way around the instrument by practicing with those guys.
This instrument really did change my life, because it gave me something positive to work toward
during one of the bleakest periods I've ever been through. It took me a few years of effort and practice but I began to think of myself as a pro. The Fender Jazz Bass was invented before there were any pedals or effects for bassists, and so the two pickups were intended to give the player a range of tones to use. Now, in 2017 I also own a Precision bass which gives up nothing to the J-Bass because of the
great Roland amp I play through.
But the Jazz Bass has its own awesome tone, it always did. I have said for years that this old
warhorse is the best bass I've ever played, and I played it for years without ever considering buying
anything else. When you already own the best, the rest seem just okay. I knew it when I opened that
dusty case, so many years ago. I lucked into getting the best. The color mattered not at all.
And this instrument can play any type of music that it's owner is capable of. I also took me a few
years to realize that his name is Sluggo. I've played Sluggo from Tallahassee to Talkeetna, and from
Rockland Maine to Santa Cruz. I'm sure I've made hundreds of dollars playing this instrument...
life and marriage was going down the tubes. I married a woman I loved
intensely, and that relationship was so fierce in both positive and negative
ways, it burned out before either of us knew what was happening.
In the aftermath, I was devastated, depressed, considered suicide seriously,
... desperately unhappy. I was also broke and found a small 'studio' to live in
while I tried to pay off debts. I gave our car to her, she was in similar mental
straits and trying to take care of our daughter too. What a mess.
But I saw an ad for a Fender bass for sale, and thought of it as a life ring.
I had been listening to bass lines in all the songs of the time, since I was about
fourteen. I knew a lot of guys who played guitar, but no one else who played bass.
Growing up just outside of Detroit, the Motown pulse was always there, and I
knew I'd be a good bass player.
I had always been into music and played guitar with friends while supposedly
concentrating on "important' duties like schoolwork and working jobs that would
pay me enough to afford college tuition and kid expenses. My parents had always
tried to discourage me from my music, thinking rightly that it would distract me from performing the 'important' things, like passing math and science tests, and writing academic papers.
It didn't work. Music was always in my soul, even in the darkest of times.
But I gave up college after my divorce, and concentrated on paying off debts.
I decided to live as simply as possible, and pay the debts before planning my future, if any.
Walk to work, or ride a bicycle. Maybe I could get in a band or something...
I couldn't afford a new guitar... but if a guy was selling a Fender bass, I was
interested. That sound was in my blood. After giving up so much, I felt pretty radical.
Farewell, cruel world, I'm off to join the circus. I'll find myself a rock an roll band
that needs a helping hand (hah)...
So I put five twenties in one pocket of my jeans, and one more in the other pocket.
And I went to see the man about the bass. This was in like 1972.
He looked about as desperate as I felt. The bass was under his bed. He pulled out the case
...it was a classic Fender rectangular case, black tolex with chrome Fender logo on it.
My heart began pounding, although I acted quite nonchalant. The case was dusty, no one
had been pestering him to buy this instrument. I opened the case, trying not to tremble.
The inside was orange fabric, it looked in good shape. I picked up the instrument. It was
a sixties sunburst style, black, yellow and red. I disliked the color but I wanted that bass.
He said, "It's a Sixty Six..." To me, then, that just meant it was old. As in "out of date..."
Nobody was worshipping them then.
I looked at the neck. It was visibly bowed, as if the instrument had been under that bed
in damp conditions for a long time. I squinted down it and shook my head.
"I don't know, man... I might have to buy a new neck for this. It's pretty warped.
I'll give you a hundred bucks..."
He hummed and fidgeted around for a bit. He had wanted more money for it, I don't remember
how much. But the $100 was a lot of money for me at that time. AND it was actually a fair price.
A new CBS Fender Jazz Bass might have cost $350 at that time. The hundred was NOT an insult
even if it was a lot less than he wanted.
I put my hand into my jeans and pulled out the cash, and showed it to him.
"This is all I got, man... what do you say?"
He took the five twenties, and shook my hand. I put the Fender back into the case, and closed
it. It was mine. I left his place with the other twenty dollar bill still in my pocket, and walked a
about ten blocks or more down to a guitar shop run by a guy named Dan Erlewine. He had opened
it recently, and I'd heard good things about him but had never walked in. I'd been busy with my
life going aground on a lee shore, and battering itself to bits on hard rocks.
After walking that far, I had learned an appreciation for the bass player's job, which is to carry
heavy things about. I switched hands back and forth, humming "Heavy music, heavy music, heavy music, MUSIC..." I showed the Fender to Dan, and he squinted at it and turned it this way and that,
and looked carefully at everything. He said he thought the neck would be okay, and I wouldn't have to
buy another one. (I had prepared myself to buy one, not knowing if a bowed neck could be put right).
He told me to come back the next day.
I did... and my new old bass was set up perfectly, and the neck was straight and has never given any more trouble since that day in 1972. Dan charged me $5.00, saying it was an easy fix with the truss rod.
He also said that the frets were okay, and everything looked good and the bass ought to play fine.
That was a long time ago. I've been playing that bass ever since, and I still have it. I did join a band
as soon as I could, playing blues. Which is a good way to begin. We played frat-house parties and dances, and I learned my way around the instrument by practicing with those guys.
This instrument really did change my life, because it gave me something positive to work toward
during one of the bleakest periods I've ever been through. It took me a few years of effort and practice but I began to think of myself as a pro. The Fender Jazz Bass was invented before there were any pedals or effects for bassists, and so the two pickups were intended to give the player a range of tones to use. Now, in 2017 I also own a Precision bass which gives up nothing to the J-Bass because of the
great Roland amp I play through.
But the Jazz Bass has its own awesome tone, it always did. I have said for years that this old
warhorse is the best bass I've ever played, and I played it for years without ever considering buying
anything else. When you already own the best, the rest seem just okay. I knew it when I opened that
dusty case, so many years ago. I lucked into getting the best. The color mattered not at all.
And this instrument can play any type of music that it's owner is capable of. I also took me a few
years to realize that his name is Sluggo. I've played Sluggo from Tallahassee to Talkeetna, and from
Rockland Maine to Santa Cruz. I'm sure I've made hundreds of dollars playing this instrument...
chilipeppermaniac
Ambassador of Decibels
The post directly above is from the 1st person I can remember welcoming me over at ETSG after I bought my first SG and signing up over there. I will always count the COL as my Hombre, MY Amigo, MY deer huntin, Jazz Bass, Walnut Faded SG playin Michigan Brother.
Also in case he ever stops posting long stories, we will know he was abducted by UFO's.
I personally like and welcome anyone to do likewise as the COL. It is what makes forums interesting. Life stories and good ones about our instrumental love of playing them.
Also in case he ever stops posting long stories, we will know he was abducted by UFO's.
I personally like and welcome anyone to do likewise as the COL. It is what makes forums interesting. Life stories and good ones about our instrumental love of playing them.
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Col Mustard
Ambassador of Perseverance
thanks for the good word... because I still use a computer with a keyboard and a
decent monitor, it's easy for me to write long streams of consciousness. And I enjoy
doing so, and hope I don't lose too many friends over it. I also like to read the things people
write on this and on that 'other' forum, short or long.
I hope that guys who are attempting to be on a forum while only using a small hand held device with a small screen will just bleep over my posts rather than getting annoyed by them. Live and let live,
that's my motto.
decent monitor, it's easy for me to write long streams of consciousness. And I enjoy
doing so, and hope I don't lose too many friends over it. I also like to read the things people
write on this and on that 'other' forum, short or long.
I hope that guys who are attempting to be on a forum while only using a small hand held device with a small screen will just bleep over my posts rather than getting annoyed by them. Live and let live,
that's my motto.
chilipeppermaniac
Ambassador of Decibels
OL Buddy COL. Imagine that. Now that you tell that story of Dan Erlewine, it brings to mind one of my own stories about him.
I had no idea he even existed until I was posting questions on a number of forums regarding a guitar I saw Billy Gibbons playing in concert on a dvd I have of ZZ Top. Lo and behold, one day Dan answers my post saying the guitar is one he made for Billy. Not only did I get the answer, but I got it from the man himself. Second to Billy G answering, Mr Erlewine was the horse's mouth if ya know what I mean.
Then of course I learned of him via StewMac and YouTube how to vids. So glad you got to take Sluggo to his place right from the get go. Nothing like going to one of the best, huh.
jjudas
Ambassador of Laissez Les Bon Temps Rouler
I have to say that one guitarist and his SGs influenced me the most to play guitar and that would be Tony Iommi. I was also influenced strongly by Ritchie Blackmore and his Stratocaster and Uncle Ted with his Byrdlands. My first electric guitar was a 70s Japanese SG copy 'Pan' when I was 13 years old, my second electric was a 1968 Italian hollowbody 'Welson'. Both my guitars disappeared when I was in court ordered rehab for a year when I was 16.
chilipeppermaniac
Ambassador of Decibels
JJudas,,,,,,,,,,,, as he sports his British Steel Priest T shirt and his Black SG ( A la Glenn Tipton) for us to see his youthful self.
Oh hell no! I use a computer most of the time while accessing the forum (you can tell by my many typos when I'm on my phone) but on my lunch break I take my phone to the break room and NEVER skip past one of the Col's mini-novels that he posts here.
OP
A great story, Colonel. I always enjoy reading your posts. My story is a long one, and it involves a virtual Ibanez history lesson....
Some of you may enjoy what follows. If you don't, then that's cool too. Now is a good time to wave off. Might I remind you that blocking requires fewer keystrokes than a rant that won't deter me anyways...
In early 1983, I had my 1959 Sears Silvertone that I had customized with a Duncan Quarter Pounder and a wild paint scheme. Although I only had 18 frets, I was still a strong contender as a guitar player. At 17, I was already a BMI registered artist, working as a studio guitarist and playing in a local garage band. I thought I was hip.
Then, late one night, in February, 1983, I saw the video for Def Leppard's song "Photograph." My entire focus was on the guitar Phil Collen was playing. It was a black & gold Ibanez Destroyer with triple humbuckers and wild block inlay - probably the coolest guitar I ever saw.
I immediately sat down and composed a letter to Joan Chesbro of Chesbro Music in Idaho Falls. I composed this letter on my Mom's record label stationary - Wild Rose Records - and asked how I could get my hands on the "Def Leppard Destroyer." The first advertisement came out in an Ibanez publication in the fall of 1983.
Joan Chesbro called a few days later and we talked about the guitar...and there was a problem.
The guitar that Phil Collen played, which was actually a 1980 DT400CS that had been modified with three pickups and a Kahler by Dave Bunker at PBC Guitars for Ibanez, wasn't available to the public. Ibanez did offer a close replica with their own 'Power Rocker' locking tremolo, named the DT555BK, but it hadn't been released yet. Only the cheaper, DT155BK (with dot inlay and non locking tremolo) was currently available....shown below.
What I didn't know, was there were bigger differences than met the eye between the two guitars.
The DT555 had a fat, set neck with a 12" radius and 24.75" scale and 16k ohm 'V2' Humbuckers.
The DT155 had a bolt on, thin Fender 'C' neck with 25.5" scale and 7.75k ohm 'Super 70' humbuckers.
I had to have the DT555BK. They retailed for $659.00 then.
Joan called me back about 3 days later. She told me her store had just been sent one of the very first DT555's released. This was well in advance of the scheduled release date and it was to be a factory store demo. However, Joan offered it to me, but I had to pay full retail price, but she would throw in a case. I jumped on this, which, back then, meant mailing her a company check for the amount.
When the guitar arrived, I couldn't believe my eyes. The finish was so deep and black that it looked soaking wet. The sound was super aggressive, the V2's really hit my JTM-30 Combo hard. The thick neck just felt right. It just sang...
What I didn't know then was how the scale length and 12" board would forever leave an indelible mark on me and I would spend the next 25 years trying to figure this fact out.
I didn't like the Power Rocker tremolo and had a lot of trouble keeping it in tune. By now I was 18 and had moved to Los Angeles to make my fortune in music. I was introduced to Wayne Charvel who offered to fix my Destroyer by outfitting it with a Floyd Rose. It took a few days, but when I got it back, my tuning troubles were over.
That was my main guitar...and my all time favourite guitar, from 1983 until it was stolen following a live performance at Hollywood's Whisky A Go-Go in 1988. Without insurance for the theft from our van, I was simply out of luck and I couldn't afford to replace it.
It was around this time that bandmates chipped in and bought me the white 1987 Squire Stratocaster that would serve as my main guitar from 1988 until 2005.
I never got over my Destroyer. I made do, I made some modifications to my Squire, I played expensive Gibson and Fender relics, but nothing else ever felt the same to me...neither did anything sound the same. I didn't know much about scale lengths, ohms values and such back then, only that I felt a heard a difference.
That guitar really did change my life and my playing never seemed as fluid or energetic as it did. Sadly, not a single known photograph of the DT555 and me exists....at least not that we have found...yet.
Over the years, I looked at DT555's that were for sale. Most were museum pieces, some had headstocks glued back on, some had no documentation and even scratched off serial numbers....not to mention they had developed a sort of cult following with pricetags to match.
Guitars came and went - three new Gibson's between 2003 and 2017 - none of them grabbed me. Something was missing.
Back in January of 2017, I embarked on building a few guitars for some local studio guys, basically custom builds from all Warmoth parts. The builds were really well received and each guitar delivered was met with a request from someone who played it for another one made to their own specs. It was also around this time that I designed my own 24.75" triple humbucker Strat-esque 'Dream Guitar' and approached some foreign builders about the possibility of producing parts to build my own line of lower priced imported guitars.
While I would later abandon this idea to focus only on 100% USA made guitars, I had made several contacts in the guitar building community, both in Poland, China and Korea.
This gave me the idea...why not recreate my missing DT555 and christen it with the serial number of my original, which I found in my files on the 1988 police theft report.
I contacted Hoshino USA and they were kind enough to put me in contact with a luthier who had worked for Hosono Guitars in Glendale California - which was where all the USA Ibanez artist models were produced. Amazingly, the gentleman seemed inspired by my quest and provided me with the basic production plans for the DT555, which gave all the critical measurements we needed to build one from scratch.
The problem, at this point, was finding someone to build it. All the California companies, like Halo, Zane and Echopark, understandably didn't want to build a replica with an established and protected headstock and logo, so that was a no-go. Same with the custom builder in Poland who has a "No Replica" disclaimer on their site.
Next, I reached out to my contact at WMI in Korea, who I had previously discussed building our custom necks for us. He agreed that this was a specialized project that would require someone with above average skills and, to avoid any form of copyright or trademark issues, it would need to be a private individual.
Two days later, he called with a name and instructions on how to reach him. The man is said to be a master luthier who is known for training others in the craft and getting new production facilities up to speed. He works privately on select projects based solely on a recommendation from a trusted source.
Our conversation on May 29, 2017 was very brief. He had already been apprised of what I wanted. He already had a price. I provided him with an electronic copy of the plans and my desired improvements - 1.00" neck profile at 1st and 12th frets, the original "A8400**" from my original guitar, flush mount Floyd Rose.
The wood was cut on May 31, 2017.
And it progressed....
To this...
It's almost ready now...It's kind of like going back in time to 1983 to see it. I remember how much I enjoyed it...I cant wait to play it again...
Some of you may enjoy what follows. If you don't, then that's cool too. Now is a good time to wave off. Might I remind you that blocking requires fewer keystrokes than a rant that won't deter me anyways...
In early 1983, I had my 1959 Sears Silvertone that I had customized with a Duncan Quarter Pounder and a wild paint scheme. Although I only had 18 frets, I was still a strong contender as a guitar player. At 17, I was already a BMI registered artist, working as a studio guitarist and playing in a local garage band. I thought I was hip.
Then, late one night, in February, 1983, I saw the video for Def Leppard's song "Photograph." My entire focus was on the guitar Phil Collen was playing. It was a black & gold Ibanez Destroyer with triple humbuckers and wild block inlay - probably the coolest guitar I ever saw.
I immediately sat down and composed a letter to Joan Chesbro of Chesbro Music in Idaho Falls. I composed this letter on my Mom's record label stationary - Wild Rose Records - and asked how I could get my hands on the "Def Leppard Destroyer." The first advertisement came out in an Ibanez publication in the fall of 1983.
Joan Chesbro called a few days later and we talked about the guitar...and there was a problem.
The guitar that Phil Collen played, which was actually a 1980 DT400CS that had been modified with three pickups and a Kahler by Dave Bunker at PBC Guitars for Ibanez, wasn't available to the public. Ibanez did offer a close replica with their own 'Power Rocker' locking tremolo, named the DT555BK, but it hadn't been released yet. Only the cheaper, DT155BK (with dot inlay and non locking tremolo) was currently available....shown below.
What I didn't know, was there were bigger differences than met the eye between the two guitars.
The DT555 had a fat, set neck with a 12" radius and 24.75" scale and 16k ohm 'V2' Humbuckers.
The DT155 had a bolt on, thin Fender 'C' neck with 25.5" scale and 7.75k ohm 'Super 70' humbuckers.
I had to have the DT555BK. They retailed for $659.00 then.
Joan called me back about 3 days later. She told me her store had just been sent one of the very first DT555's released. This was well in advance of the scheduled release date and it was to be a factory store demo. However, Joan offered it to me, but I had to pay full retail price, but she would throw in a case. I jumped on this, which, back then, meant mailing her a company check for the amount.
When the guitar arrived, I couldn't believe my eyes. The finish was so deep and black that it looked soaking wet. The sound was super aggressive, the V2's really hit my JTM-30 Combo hard. The thick neck just felt right. It just sang...
What I didn't know then was how the scale length and 12" board would forever leave an indelible mark on me and I would spend the next 25 years trying to figure this fact out.
I didn't like the Power Rocker tremolo and had a lot of trouble keeping it in tune. By now I was 18 and had moved to Los Angeles to make my fortune in music. I was introduced to Wayne Charvel who offered to fix my Destroyer by outfitting it with a Floyd Rose. It took a few days, but when I got it back, my tuning troubles were over.
That was my main guitar...and my all time favourite guitar, from 1983 until it was stolen following a live performance at Hollywood's Whisky A Go-Go in 1988. Without insurance for the theft from our van, I was simply out of luck and I couldn't afford to replace it.
It was around this time that bandmates chipped in and bought me the white 1987 Squire Stratocaster that would serve as my main guitar from 1988 until 2005.
I never got over my Destroyer. I made do, I made some modifications to my Squire, I played expensive Gibson and Fender relics, but nothing else ever felt the same to me...neither did anything sound the same. I didn't know much about scale lengths, ohms values and such back then, only that I felt a heard a difference.
That guitar really did change my life and my playing never seemed as fluid or energetic as it did. Sadly, not a single known photograph of the DT555 and me exists....at least not that we have found...yet.
Over the years, I looked at DT555's that were for sale. Most were museum pieces, some had headstocks glued back on, some had no documentation and even scratched off serial numbers....not to mention they had developed a sort of cult following with pricetags to match.
Guitars came and went - three new Gibson's between 2003 and 2017 - none of them grabbed me. Something was missing.
Back in January of 2017, I embarked on building a few guitars for some local studio guys, basically custom builds from all Warmoth parts. The builds were really well received and each guitar delivered was met with a request from someone who played it for another one made to their own specs. It was also around this time that I designed my own 24.75" triple humbucker Strat-esque 'Dream Guitar' and approached some foreign builders about the possibility of producing parts to build my own line of lower priced imported guitars.
While I would later abandon this idea to focus only on 100% USA made guitars, I had made several contacts in the guitar building community, both in Poland, China and Korea.
This gave me the idea...why not recreate my missing DT555 and christen it with the serial number of my original, which I found in my files on the 1988 police theft report.
I contacted Hoshino USA and they were kind enough to put me in contact with a luthier who had worked for Hosono Guitars in Glendale California - which was where all the USA Ibanez artist models were produced. Amazingly, the gentleman seemed inspired by my quest and provided me with the basic production plans for the DT555, which gave all the critical measurements we needed to build one from scratch.
The problem, at this point, was finding someone to build it. All the California companies, like Halo, Zane and Echopark, understandably didn't want to build a replica with an established and protected headstock and logo, so that was a no-go. Same with the custom builder in Poland who has a "No Replica" disclaimer on their site.
Next, I reached out to my contact at WMI in Korea, who I had previously discussed building our custom necks for us. He agreed that this was a specialized project that would require someone with above average skills and, to avoid any form of copyright or trademark issues, it would need to be a private individual.
Two days later, he called with a name and instructions on how to reach him. The man is said to be a master luthier who is known for training others in the craft and getting new production facilities up to speed. He works privately on select projects based solely on a recommendation from a trusted source.
Our conversation on May 29, 2017 was very brief. He had already been apprised of what I wanted. He already had a price. I provided him with an electronic copy of the plans and my desired improvements - 1.00" neck profile at 1st and 12th frets, the original "A8400**" from my original guitar, flush mount Floyd Rose.
The wood was cut on May 31, 2017.
And it progressed....
To this...
It's almost ready now...It's kind of like going back in time to 1983 to see it. I remember how much I enjoyed it...I cant wait to play it again...
OP
LOVE these vintage photos!
chilipeppermaniac
Ambassador of Decibels
Robert what are specs on a DT400CS neck back, fret board radius, and scale length?