Lyle Guitar Serial Numbers? Top 73 Best Answers

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Table of Contents

How old is my guitar by serial number?

If the serial number is 7 digits, the guitar was made in the 1990s and the first digit indicates the year.

Where are Lyle guitars made?

Lyle guitars were made in Japan between 1960 and the late 1970s in the Matsumoku guitar factory, which also produced Univox, Arai, Aria and other guitar brands. Some Lyle guitars were made in Korea, including the C-600 classical model.

How can I tell the age of my guitar?

For US instruments, the serial number will start with a letter. That letter indicates the decade. The second character will usually be a number. That number indicates the specific year.

How do you date a vintage guitar?

The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code. The remaining 3 or 4 digits are the date code. In 3 digit dates code, the 1st digit is the last digit of the year. On 4 digits date codes, the 1st and 2nd digits are the last two digits of the year.

Lyle guitars

Dating vintage guitars and amps using the source date code. 03/02/14

Return to the feature index.

Back to the main index. Introduction. Sometimes there just isn’t enough information about electrical instruments and amplifiers to properly date them. And a lot of people ask me to try to determine the year of their old amp, or to help them with the year of their older off-brand electric guitar. Since I primarily collect Fender amps and Gibson, Fender, Martin, National, Epiphone, Gretsch, and Rickenbacker guitars, I really can’t help you with these other lesser-known brands. As you’ve probably noticed, there’s a lot of information here to help date the brands I’m interested in. But where is everyone else? Well, I’m not one to leave you in the (information) cold, so here’s something I use quite often when dating amps and electric guitars. Known as the “source date code,” it can help determine the approximate age of an electrical instrument based on the date of manufacture of its components. Source Date Codes On vintage American made equipment, the pots and speakers provide a great way to date a device by referencing its “Source Date Code”. The source code on pots and speakers indicates the manufacturer and (approximately) the date the components were made. It may have taken some time for the part to be fitted at the factory, but it still provides a good approximation of the gear’s date of manufacture. This is especially helpful with (less popular) gear that doesn’t have reliable serial numbers or other information to date it. The source date code gives the earliest possible date that the instrument or amplifier could have been manufactured. It won’t be exact, but it will give you a “normal” age. And keep in mind that even the data displayed by the pots is not that accurate. For example, if you buy a brand new CTS pot today, they are dated a month or two in advance! It’s worth noting since many people rely on pot dates. However, it is not uncommon for pot manufacturers to release pots with a date ranging from a few weeks to 18 months. (The standard today is no more than 18 months, but back in the 1950s and 1960s, who knows?) Some major parts distributors would even return parts when the date code was “expired” and ask for “fresh” parts in return. This seems silly since we are talking about electronic parts, not eggs. But if you’re thinking about parts like electrolytic capacitors, this could be a problem. Then the parts manufacturer (like CTS) would have to eat the returned inventory or sell it to someone who doesn’t care about date codes, and probably at a discounted amount. What I’m saying is that pot and capacitor date codes are not a reliable indicator of guitar build dates. While they’re part of the puzzle and something to consider, don’t overtrust a pot date. The source date codes are under the Electronic Industries Association, a non-profit organization representing manufacturers of electronic parts. The EIA source date code is a numeric code assigned and registered by the EIA. It can be stamped or marked on each product to identify the production source (supplier) and date of manufacture. Source codes have been published by the EIA since 1924. The EIA can be contacted by mail: Electronics Industries Association, 2001 Pennsylvania Ave NW, Washington, D.C. 20006. Considerations and Exceptions: Source codes were not a post-WWII industry standard. But I saw them on stack pole pots on National electric guitars as early as 1935. The first time date source codes were published was in 1924, so I’m guessing you could see them as early as the late 1920’s.

. But I saw them on stack pole pots on National electric guitars as early as 1935. The first time date source codes were published was in 1924, so I’m guessing you could see them as early as the late 1920’s. Most 1966 thru 1969 Fenders have 1966 dated CTS pots. Apparently, CBS/Fender bought a large stock of pots in 1966 that lasted through 1969.

On common Fender models, the pot date can be very close to the instrument’s actual date. On less popular Fender instruments like LapSteels, pots can be as much as two years earlier than the instrument’s actual date.

Gibson only began using pots with source date codes in 1953 or 1954. Originality. Of course, all of this assumes that the pot or speaker is original. You need to make that call. I would suggest checking the solder joints – are they clean? Are the cables from the right period (cloth insulation for older stuff)? If so, you can check the pot or speaker for the source date code and get an approximate age from that. How the source-date code works. The source code on a pot is a 6 or 7 digit code stamped into the body of the potentiometer. For speakers, this code can be 5, 6, 7, or 8 digits long and is stamped in ink or paint on the speaker’s “bell”. In both cases the code works the same. The first 3 digits on a pot or the first 2, 3 or 4 digits on a speaker is the source or manufacturer code. The remaining 3 or 4 digits are the date code. With the 3-digit date code, the 1st digit is the last digit of the year. For 4-digit date codes, the 1st and 2nd digits are the last two digits of the year. In both cases the remaining 2 digits are the week of manufacture (01 to 52). With that in mind, remember if the last two digits of the source date code are greater than 52, don’t look at the source date code! Also worth noting: sometimes there is a space or dash between the manufacturer code and the year/week code.

Three-digit date codes were used in the 1940s and 1950s. Stackpole, for example, switched from three to four digit date codes in late 1959.

4-digit date codes were used in the 1960s and later (this makes determining the year much easier!)

3-digit date codes require you to “guess” the decade of the pot or speaker. Usually this is not too difficult. Pots used by Fender. The center one is a week 30, 1966 CTS (Chicago Telephone Supply, Mfr. #137) pot. The left and right pots are Stackpole pots (Mfr. #304). Note the different position of the markings, even on pots from the same manufacturer.

Left: The source date code (285709) on a speaker. In this case the loudspeaker is made by Rola (285) in the 9th week of the year 1957 (709). The decade, while not directly indicated by the source code, was easy to determine since this particular amp was only made in the 1950’s. Note that the font of the source code number always seems to be the same for all speaker manufacturers.

Right: Same here. Jensen (220) Loudspeaker manufactured in the 41st week of 1959 (941).

Pot Source Codes. Here are the most common pot manufacturers (first 3 digits of source date code): 106 = Allen-Bradley

134 = CentraLab

137 = CTS (Chicago Telephone Supply, pots and speakers)

140 = clarostat

304 = stacking bar

381 = Bourns networks

615 = IRC (International Resistive Company) – see Fender products below. In the 1950’s Fender primarily used stackpole (#304) pots. Then, around early 1963, they switched to CTS (#137) pots. In 1967 (after CBS bought Fender) Fender bought a HUGE stock of pots from CTS. This supply lasted more than five years. So guitars and amps made as late as 1973 may still have 1967 date codes out of that giant 1967 stocking. During Fender’s life as an amplifier manufacturer, he used Jensen (#220), CTS (#137), Oxford (#465), Utah (#328), and Altec-Lansing (#391) loudspeakers. Until about 1961, Jensen was the only Fender speaker supplier. From 1962 you can see Fender using loudspeakers from all the manufacturers mentioned above. Amplifier products from National, Valco, Supro. Note the use of “550” as source code for these products. Actually it is not a source code but a manufacturer code for all products from National, Valco, Supro. Found as a second stamp on speakers as date code 550XXX from 1947 through the 50’s and 60’s (all 1940’s amps are generally Field Coil Rola Spkrs). Manufacturer’s source code.

Below are many manufacturer source codes (the first 2, 3 or 4 digits of the source code). Common guitar speaker manufacturers: 67 = Eminence

137 = CTS (Chicago Telephone Supply)

220 = Jensson

285 = roll

308 = Stromberg-Carlson

328 = Utah

336 = west electr

391 = Altec Lansing

416 = heath

465 = Oxford

589 = bow

649 = Electro Voice

Some Jensen tidbits: Fender used Jensen speakers until 1972, when all Jensen production (and an engineer) was moved to The Rola Company in Cleveland, OH (Rola was a division of Jensen). Before Jensen’s restructuring in ’71-’72, Jensen quality had suffered terribly. When Rola began making loudspeakers for Jensen in 1972, Rola initially used manufacturer code Jensen 220, but switched to Rola code 285 in late 1972. Regaining OEM customer confidence after the Jensen years was a result of the relationship between Rola and Jensen long process. Other loudspeaker manufacturers (thanks to P.Bechtoldt and H.Murphy): 24 = Becker

101 = Admiral

106 = Allen Bradley

119 = automatic mfg.

125 = Bendix

130 = Panasonic

132 = Talk-a-Phone

145 = consolidated

150 = half moon

169 = Hitachi

185 = Motorola

188 = General Electric

213 = Dearborn wire

230 = little fuse

232 = Magnavox

235 = Mallory – North American condenser

244 = mute

245 = national

251 = ohms

252 = Ducans

258 = Perm-O river

260 = Philco

270 = Quam-Nichols

274 = RCA

277 = Emerson

280 = Raytheon

300 = spear

381 = Bourns

285 = roll

286 = horse

296 = sun

312 = Sylania

336 = west electr

343 = zenith

371 = Best

374 = Cletron

394 = maintenance transformer

423 = North American Philips (Norelco)

433 = Cleveland

449 = savage

466 = Delete

532 = Leonard District

549 = Midwest

555 = Waldom electronics

575 = Heppner

649 = Electro Voice

706 = pioneer

719 = Carbonneau

722 = Milwaukee resistance

742 = squire

748 = Russel

756 = Universal

767 = Quincy

787 = sonatones

789 = McGregor

794 = Harmon Kardon

795 = Atlas

816 = valley

828 = midland

840 = amps

847 = University

918 = Oaktron

932 = Atlas

1056 = fisherman

1059 = channel

1098 = Pyle

1113 = acoustic fiber sound

1149 = Curtis Mathes

1191 = micro magnet

Tube/Transistor Codes 111 = Amperex (USA)

125 = Bendix

158 = You Mont

185 = Motorola

188 = General Electric Co (USA)

210 = Hytron (CBS Hytron)

260 = Philco

274 = RCA (Radio Corp of America)

280 = Raytheon

312 = Sylvania (Hygrade Sylvania Corp)

322 = Tung Sol

366 = west electr

337 = Westing house

343 = Zenith Radio Corp (CRTs)

466 = delete

980 = Texas instruments

Capacitor Codes: 102 = Aerovox Corp

109 = American capacitor

134 = central dep

135 = Chicago capacitor

163 = Aerovox Hi-Q Division

178 = John E. Quick

188 = General Electric

235 = Mallory

240 = Micamold

242 = thousand

273 = radio capacitor company

296 = sun

303 = Sprague (all Gibson lovers’ favourite!)

438 = Gudeman

446 = Good-All

461 = Barker & Williamson

472 = pyramid

516 = Unified Capacitor

569 = Electric Utility Corp

616 = Illinois condenser (condenser)

648 = American radionics

658 = Sangamo

705 = Ajax

710 = standard capacitor

732 = RMC (Radio Materials Corp)

885 = manufacturer of capacitors

Transformers & Coil Codes: 138 = Stancor (Chicago Standard)

141 = coil technique

172 = flag spool

183 = Freed

194 = General radio

218 = Jefferson Electric

238 = Thordarsen-Meissner

239 = Merit Coil & Transformer

305 = standard spool

352 = Essex (Transformer Division)

366 = New York transformer

391 = Altec Lansing Peerless

394 = maintenance transformer

412 = General Transformer

418 = United Transformers Corp (UTC)

489 = Radio-TV Products Corp

452 = Empire coil

503 = Caledonia

524 = Triwec transformer

549 = Midwest Coil & Transformer

550 = standard winding Co

572 = F and V coil winding

606 = Woodward-Schumacher

637 = central coil

682 = Electrical windings

757 = Big Transformers

773 = forest electrics

776 = Ogden Coil & Transformer

830 = triad

831 = Better coil and transformer

843 = Klipsch

878 = Acro Products (Acrosound)

883 = mohawk

892 = American transformer

897 = Tresco

906 = Coilcraft

908 = aero spool

928 = Acme Coil & Transformer

933 = magnetic coil manuf

934 = Oaktron

1005 = North Sea

1052 = Pacific

Other manufacturers 139 = cinch (sockets, plugs)

152 = Crosley (radios)

194 = General radio (test device)

199 = Hallicrafters (Ham & SW gear)

222 = E F Johnson (jacks, ham xcvrs)

248 = Arvin (Sears radios and televisions)

254 = Packard Bell (televisions radios computers)

260 = Philco (Radios & TVs)

262 = Philmore (hardware)

277 = Emerson (Radios & TVs)

343 = Zenith (Radios & TVs)

416 = heath (electronic kits)

772 = Muntz (cheap TV)

787 = Sonotone (Pickup) Examples of source date codes. Given all this information, can you identify the following manufacturer and date of these source date codes? 220 7001 Jensen loudspeaker, 1st week of 1970. 137341 CTS, 41st week of 1953 (or 1943 or 1963 but probably 1953 as source codes were not used much during or before WWII and 4 digit date codes were not used until 1960 and later). 304-6110 Stackpole Pot, 10th week of 1961. 137848 CTS, 48th week or 1948 or 1958. 4656755 No source date code. can you see why If you can’t, read the information above again! Here is another example:

304809

^^——- Week of the year (01 to 52), in this case week 9

^——— last digit of the year (0 to 9), in this case 1958

^^^———- Vendor source code, in this case Stackpole

IRC pots (as used on many Gibson Les Pauls).

IRC (International Resistive Company) used a different source code system. For example, here’s a typical 1950’s IRC code seen on a 1955 Les Paul Junior Pot: 6154190 500k 543

^^^—————– 615 is the source code for IRC

^^^^————- 4190 is IRC part number (0689 & 2632 also common)

^^^^——– 500k is the pot value in ohms

^—— Digit of the last year (0 to 0 9), i.e. 1955

^^—- week (01 to 52), i.e. 43rd week

Jensen speaker codes. Jensen was a very popular manufacturer of speakers for guitar amps in the 1950s and 1960s. Fender and Gibson have used them and many other manufacturers. There are some other codes used on Jensen speakers as shown below. The first set of codes shows the type of magnet, size and quality of speaker. The “P12R” identifies the type of

Magnet, the size and the quality

of the speaker.

The prefix code letter identifies the type of magnet used in the speaker. Before the 1950s, field or electromagnetic magnets were used. Instead of a permanent magnet, electricity was used to generate the magnetic field. These became obsolete with good alnico magnets and were not used much after the 1940s. For the best guitar tone, it is generally agreed that “permanent” Alnico V was the magnet of choice. AlNiCo was the mainstay for decades because it produced a powerful magnet that worked great in speakers. It has been largely phased out due to the higher cost compared to newer materials (there are now other rare earth metals such as samarium-cobalt and neodymium-iron-boron, aka NIB, now in common use). Also, ceramic magnets were cheaper to produce than alnico, hence their use in the 1960s instead of alnico. Here are some of the Jensen prefix codes: F = “Field” magnet, which is a powered magnet (often with a small transformer mounted on the speaker).

EM = Electro Magnetic or Electronic Musical (speakers for electronic musical instruments, 6″x9″ to 15″)

P = “Permanent” magnet, Alnico V. Sometime in the 1960s Jensen stopped using Alnico V magnets (and used ceramic magnets instead), but kept the “P” prefix!

PM = permanent magnet, mostly AlNiCo type (or other earth metal combinations)

C = ceramic

NEO = Permanent Magnet NIB type (latest variety)

The number is the size of the speaker. Jensen made speakers ranging in size from 4″ to 18″. The appended code letter indicates the quality of the speaker. Jensen speakers were available in different quality levels. They had a Professional series, a Concert series and a Standard series. The closer the suffix code letter is to “A”, the higher the quality of the speaker. As for guitar amplifiers, the Concert series is considered the best (the Professional series is too efficient and does not “break up”, the Standard series is too capricious and does not handle power). Here are the series identifiers: Professional Series: Letters J, K, L (made in 18″ and 15″ sizes only).

Concert Series: Letters N, P, Q, R (made in sizes 8″, 10″, 12″, 15″. Best for guitar amps.

Standard Series: Letters S, T, U, V, W, X (codes U, W, X were only 8 inches and smaller).

Gibson Anolomies.

Gibson used some pots of weird codes in the 1960s that were confusing. These codes don’t make a lot of sense, so they’re noted below. CBA-811-1053: circa 1965 (Gibson parts list)

CBA-811-1831: circa 1965 (Gibson parts list)

CBA-811-1158: Late 1960s.

C-70-05675-0: circa 1965

CBA-5124: circa 1965

CBA-811-3701: date unknown

CBA-811-3703: date unknown

70020: circa 1971 & 1977 Gibson parts list

70028: circa 1978-1981 Gibson parts list

70035: circa 1981 Gibson parts list Gibson / Fender / Martin / Gretsch / Epiphone / National

Rickenbacker / D’Angelico / Hofner / Kay / Danelectro / Dobro

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How much can I sell my guitar for?

As far as selling for cash goes, Guitar Center can give up to $1,000 for your used gear. If it’s worth more than that, then you can get the rest of the value in trade value at their store. However, there are a couple of things that you need to bear in mind.

Lyle guitars

If you want to save yourself the hassle of selling your old guitar gear yourself, one option is to go to Guitar Center and use the Trade In Trade Up program to sell or trade in your gear.

Of course, Guitar Center only accepts fully functional equipment. Some of the cosmetic surface damage is fine as long as the instrument, amp, or pedal is working properly.

Before heading to your local store, there are a few things to keep in mind. The important thing is whether you want to sell your equipment for cash or exchange it for the purchase value in the shop. But whatever you decide to do, Guitar Center’s program seems to make it worthwhile. In the rest of this article, we’ll discuss how much Guitar Center pays for used gear, how the process works, and whether or not it’s a good option for you.

How much does Guitar Center pay for used gear: is it worth it?

Now we come to the main question here. Is it worth selling or trading your gear at the Guitar Center stores? Yes and no. It’s not really an easy question to answer. The following image is a screenshot from the Guitar Center website.

The first thing you should do is check what price your gear is selling for on other sites that sell used gear, such as eBay, Craigslist, or Facebook Marketplace. Check prices for used and new (if the product is not discontinued). You have a rough estimate of how much that particular piece of gear you have could be worth. But there is one thing you need to be aware of. Obviously, Guitar Center is looking for ways to make money. So they will buy it from you at a slightly lower price than you could possibly get if you were selling it independently through an online ad.

As you might suspect, this is an obvious downside. Who wants to get less for something worth more, right? Well, it’s not that simple. While you’ll get a slightly lower price in most cases, the convenience of selling all your gear in one store for a reasonable price does have its perks. Just go to the nearest Guitar Center store and you’re all set. If you’re looking to sell four or five pieces of gear, it’s certainly better to deal with a bunch of individual ads.

But another thing to keep in mind is that selling independently via ads comes with other costs and issues. For example, you often need to include shipping costs in the price. If that’s the case, what you earn comes pretty close to what you would be getting at Guitar Center anyway. So if you are near a Guitar Center store, selling your gear there and making money locally is most likely a better option.

Essentially, you can ask them for a price and see if it’s possible to get more through other sales channels. If you want to sell your gear quickly and don’t think about it. Guitar Center trade-in programs are definitely a better choice. This is especially the case if you sell more stuff and have a Guitar Center store near you.

Ultimately, it’s the best idea when you want to buy something new. You get decent discounts if you turn in old gear to trade in and not cash. At the same time, it’s a great idea if you want to sell your gear quickly and earn up to $1,000 right on the spot.

Does Guitar Center really pay up to $1,000 for used gear?

Yes, up to $1000 in cash, but as mentioned in the previous section, they do not guarantee that they can give you up to $1000. This is dependent on cash availability at that particular store on the day of your visit.

With that in mind I would say the best reason to sell your gear to Guitar Center is if you want to buy something new there. The second reason is if you are short on time or don’t have the patience or desire to list the gear in a classified ad to find a local buyer. Trading in a music store or selling directly to a music store is often the easiest approach, although you may make a little less from the sale.

Cases where you should probably look for other alternatives

There are some instances where we do not recommend selling your gear through them. The first example is when you have old and expensive equipment. For this purpose, it is much better to turn to Reverb.com or even eBay. The guitar center staff will always try to lower the price. In addition, you can only get up to $1,000 in cash, while the rest of the money earned can be used to buy new gear at their stores.

Second, we wouldn’t recommend them unless you know you can get a much better price elsewhere and are willing to wait a little. It’s also a big problem if you don’t have Guitar Center stores in your area. They will not come to your address and some potential sellers would have to travel a lot. In this case, it’s probably not worth it.

What can I sell or trade in Guitar Center?

Guitar Center stores will consider buying most musical equipment related to guitar, bass, drums, etc. Whether they buy an item or not depends on the in-store inspection and evaluation.

Equipment that you cannot sell or trade in Guitar Center

However, you should also know what not to take as this is a little easier to sketch. Guitars and guitar gear can be pretty basic, as can other things like PA systems, DJ gear, and studio gear. But there is some equipment that is too difficult to sell.

While the list isn’t always definitive, some of the items they don’t buy or put on sale include:

Acoustic Pianos

Any type of copyrighted material

computers

Random consumer electronics

tape recorder

switching systems

Custom cables

wireless units

Used strings

guitar parts

eardrums

drumsticks

Low end drum hardware

double basses

Really big mixers

orchestral instruments

Of course, if you are unsure about a particular instrument or piece of gear, you can always call the shop before you travel.

Selling vs trading your gear

After the exchange value has been determined, the guitar center staff will offer two different options. You can either sell your gear for cash or trade it in for something new at their shop. As for cash sales, Guitar Center can give up to $1,000 for your used gear. If it’s worth more, you can get the rest of the trade value in their store.

However, there are a few things you need to be aware of. First, the store is not guaranteed to be able to give you up to $1,000 in cash for your gear. According to the official information on their website, they are only allowed to spend up to $1,000 if there is enough cash available at that particular store.

It’s also worth noting that there are two Guitar Center stores that don’t give money for used gear due to government restrictions. These two stores are located in Greensboro, NC and Rockville, MD. The rest should be able to give you cash if they have enough of it available for the purpose.

Exchange old for new

The other option is to trade in your used gear for something new. The process is pretty much the same as raising cash. The workers will give you their estimated price. However, instead of cash, you get credits for buying gear at the store.

It’s a pretty simple method. In fact, we’d say it’s a lot easier than waiting for cash. If you have something to trade and want new gear, just head to your nearest Guitar Center store.

Tips on selling or trading your gear at Guitar Center

The most important thing to know is that you can’t really call your local guitar center and ask for a rough estimate of your gear. Maybe they could tell you something if you have that old special piece of gear. But otherwise you’re just wasting your time.

In short, they only make personal price estimates. That means you actually have to go into one of their stores and bring what you want to sell with you.

Another thing to keep in mind is that you shouldn’t bring broken gear. For example, if your electric guitar has broken pickups or other flaws that make it impossible to get a tone out of it, don’t waste time. Get it repaired first and then think about selling it. You just won’t consider buying it at all.

After all that, it is also very important to be prepared. As already mentioned, you should neither over nor underestimate your equipment. Before you head out and visit your local Guitar Center store, it’s a good idea to do your pricing research first.

If you’re selling something that’s still being made today, look at both new and used prices. The used prices are usually around 50% to 60% compared to new devices. In some cases it can go up to 70%, but that only applies to gear that has a high resale value.

Don’t overestimate the value of your gear

It’s not uncommon for guitarists to become emotionally attached to their instruments, even if they’re entry-level by default. But no matter how much you love that particular instrument, you can’t really fight its market value. You also need to understand that Guitar Center won’t give you anywhere near full retail value.

The same goes for random no-name instruments that someone once bought or hand-made. For example, maybe you have an electric guitar that someone made themselves that you want to get rid of. However, there’s a very slim chance the guys at Guitar Center would be interested in buying it, even if it has some great parts. In practical terms, they will have a hard time reselling for any predictable profit margin.

But don’t underestimate the value of your equipment either

Another common mistake is that people will go into a Guitar Center store and sell very valuable gear and will accept any offer that is made to them. Sometimes the convenience of selling or trading in Guitar Center can’t be beat. However, other times you have a very valuable piece of equipment that would fetch a better price on the used market with a simple post on Craigslist or Facebook Marketplace. Again, do your research on sites like eBay and Reverb ahead of time to see what recently sold listings have achieved. Do your homework and even ask questions to experts and on various forums and message boards.

How to keep your price higher

The commercial value of the guitar center depends on a number of factors. If you’ve decided to join the Guitar Center program and sell or trade in your guitar, there are a few things you should take care of first. In case you want to increase the price or just keep it at normal level, you need to keep it clean and in good condition.

Here we look at two important things you can do.

cleaning your guitar

Cleaning your instrument can actually help you increase the price you get for it. First, it just looks better and brings out all the visual qualities of the instrument, highlighting the good condition it’s in.

A clean instrument is a sign of a well cared for instrument. Needless to say, this inspires more confidence in the quality of the gear you are selling.

Have the equipment set up and properly maintained

Even if you don’t have to fully intonate the instrument, make sure it’s in decent condition. This means that the neck should be straight and that fret buzz should be at the lowest possible level.

All guitar necks move over time. If you have left your guitar without strings for a while, the neck will bow back. Otherwise, it tends to bend towards the body. In any case, adjust it by turning it clockwise or counterclockwise about 1/8 to ¼ of a full circle.

Setting up the bridge might be a bit trickier. At the same time, there are also many different bridges. Fender-style hardtail and tremolo bridges with individual saddles are the easiest to set up. Essentially, make sure the string height is at a level where fret buzz doesn’t occur. Tune-o-matic bridges (like those on Gibson and Epiphone guitars) may be a bit more difficult to set up.

That being said, it’s a good idea to re-string your guitar if the strings on it aren’t in good condition. Again, it’s not just about the visual aspect. But with a good set of strings, the guitar plays well and is in better condition for the Guitar Center staff when grading.

You can also take your instrument to a luthier to have it fully adjusted and intoned. However, if you’re selling a cheap guitar, it may not be worth the money and hassle. Just make sure the instrument is in a playable condition. It’s often worth having more expensive guitars and gear in tip-top shape before having them appraised for sale, even if that means spending a little money to have them checked by a professional.

Sell vintage gear at Guitar Center

Guitar Center has a separate grading process for vintage gear. Please find the vintage gear sales form here for more detailed information and frequently asked questions. It’s always a good idea to check current prices by checking out places like Reverb.com or eBay. You should always filter by “Offers sold” to see which similar products actually went. It does not matter at what high price certain items are offered. Our gear is only worth what someone is actually willing to pay for it.

Guitar Center knows this all too well, and again, you should expect to be offered as little as 50% to as much as 70% of your instrument’s retail value. In this whole equation we also have the problem of the state that each piece of equipment is in. This can greatly affect the price of any piece of gear. Another important factor is the demand for the specific equipment you are selling. Popular brands and models that sell quickly are much more likely to get an offer.

Guitar Center trade-in: how does it work?

In this section we talk about how the trade-in process works. Basically all you have to do is bring used gear to a guitar center and after one of their experts evaluate it they will tell you what it is worth. As mentioned, you should decide whether you want to trade in your guitar or receive cash before heading to the store. If you choose cash, you can do so, but some specific conditions apply.

How do I get paid for selling my guitar to Guitar Center?

One of the best things about selling used gear on Guitar Center is that it’s so easy. Here’s a screenshot from the Guitar Center website that explains why you might want to sell your gear there instead of listing it yourself.

Some potential sellers have also wondered if they can drop off their gear at a guitar center or have their items picked up from their home. To date, Guitar Center has no policy to enable such a service. This can be a little inconvenient for anyone who doesn’t have a Guitar Center store near them. But unfortunately you have to take your gear to a physical store to sell or trade it at Guitar Center.

Guitar Center Trade in Trade up Frequently Asked Questions:

What’s in it for you?

Guitar Center is first and foremost a business and while the used market is not their primary profit driver, they will still always try to make a profit by reselling your trade-ins. It’s important to understand that Guitar Center does not offer you full used value for your items. This is the case with any music store that buys music gear, not just Guitar Center. It is more realistic to expect offers between 50-70% of the used market price of the item. This allows ample leeway for the cleaning, setup, and repair of these instruments and equipment, as well as operational and processing costs associated with running the business.

After all, there isn’t usually much more profit to be made on used resale items, but it’s a valuable service to offer customers, especially when they can offer you commercial value so you can finally get your hands on that new piece of gear you have in store have kept an eye.

Quality standard considerations

One of the most important things to point out is that Guitar Center is very keen to purchase gear in usable condition. It’s not that they would refuse to take a guitar that shows signs of play or minor damage. However, you are looking for equipment that works. Guitar Center will accept some minor damage, usually cosmetic, as long as the instrument is in good working order. This means the guitar or any other instrument is in fully playable condition and has resale value. For example, your guitar should have a working bridge, pickups, electronics, all tuners that work properly, and fretwire in usable condition.

Another thing to note is that they don’t usually take random no-name instruments. When we talk about pedals, effects or other electronic instruments or devices, they must work properly and not show any major damage. For example, if you step on a pedal, it should turn on with no issues. It should also work properly with both AC adapters and batteries, and all of its parameter controls should do what they’re intended to do.

According to the official information on their website, the guitar center staff will grade what you bring them. In a way, it’s similar to your regular pawn shops. They indicate their estimated value. Aside from the condition of the instrument, they are also more interested in equipment that sells better. This can be a specific series of instruments that are commonly purchased, increasing their value.

They also claim that they have dedicated vintage gear teams. All basic functional characteristics must be in order as with other instruments and devices. Only then will their teams tell you the estimated price.

Can I trade in my old gear at any Guitar Center store?

Guitar Center buys and trades in each of its retail stores. The first thing you need to do is find the store closest to you. Then bring along the used equipment you wish to sell and ask one of the retail associates for assistance in selling your items. As simple as that! Well, as long as the gear you’re selling is functional and meets their criteria. Some exclusions apply, especially to their discount offer.

What year was my guitar made?

Look for a date marker on the neck.

There should be a date on the neck and a date on the body. If those two dates match up, that’s probably the exact date your guitar was built.

Lyle guitars

This article was co-authored by wikiHow contributor Jennifer Mueller, JD. Jennifer Mueller is a wikiHow Content Creator. She specializes in reviewing wikiHow content, fact checking and evaluating to ensure thoroughness and accuracy. Jennifer received a 2006 JD from Indiana University’s Maurer School of Law. This article has been viewed 165,200 times.

Article overview

Finding out the age and value of a guitar can help you decide whether to keep it or sell it. First, look for the manufacturer’s name on the face of the headstock, which can help determine a guitar’s quality. You can also check the back of the headstock to see if there is a serial number and search for it online. In general, a lower serial number is worth more than one with a higher serial number. Aside from these factors, a guitar is more valuable when it’s free of scratches or cracks, contains all original parts, or is made from rare materials like rosewood. To get a more accurate value of your guitar, visit the Blue Book of Guitar Values website or have a guitar dealer appraise you. Read on to learn how to clean and inspect your guitar!

How can you tell the difference between an acoustic and classical guitar?

The ultimate difference between an acoustic and a classical guitar is the strings. Classical guitars use nylon strings as opposed to steel strings on an acoustic guitar. This is where the major differences in sound come from. Nylon strings are a lot thicker and produce a more mellow, softer sound than steel strings.

Lyle guitars

While a classical guitar and an acoustic guitar look visually similar – with a construction that includes six-string tuned EADGBE, a sound hole and tuning pegs – many of these similarities function differently. Before you dive into playing or buying a classical guitar, let’s go through some key differences to be aware of.

Body

acoustic guitar

classical guitar

shape

Most acoustic guitars are dreadnought shaped in a standard parlor size. Salon size guitars are usually smaller than a classical guitar, but some are larger depending on the type of acoustic guitar manufacturer.

neck

Typically, a standard classical guitar has a wider neck than an acoustic guitar. Remember that an acoustic guitar is meant to be strummed or fingerpicked; Therefore, the smaller neck widths and shorter string spacing make these techniques easier for players. It’s also best to keep in mind that classical guitars typically don’t have fret markers, which may or may not pose a challenge for players.

Bridge

A classic wrap-around bridge is used on a standard classical guitar. On this type of guitar, the strings are tied in a knot around the bridge to hold them in place, much like a ukulele. But classic bridges also accept classic ball-end strings, which is the preferred stringing method for these types of rigs. In contrast, the bridge of an acoustic guitar has pegs that hold the strings securely in place.

strings

The key difference between an acoustic and a classical guitar is the strings. Classical guitars use nylon strings as opposed to steel strings on an acoustic guitar.

This results in the greatest sound differences. Nylon strings are much thicker and produce a smoother, softer sound than steel strings. The treble strings (G, B, high E) are made of nylon monofilament, while the bass strings (E, A, D) are made of silver-plated copper wrapped around a nylon multifilament core. Nylon strings have a softer feel and a plastic feel, making them ideal for beginners.

While the nylon strings are easier to play for non-calloused hands, the sound is not as common in modern music. If you like Spanish, flamenco or classical music, you can achieve that type of sound with a classical guitar. But most modern rock, folk, blues, and country artists use an acoustic guitar.

The steel strings of an acoustic guitar produce a bright, crisp, even tone that reverberate more than a classical guitar. Acoustic guitar strings are made from a variety of metals and materials, including nickel and bronze. These strings are thinner which makes them very similar to electric guitar strings while being a bit sharper on the fingers.

types of strings

Classic

Ernie Ball offers a variety of strings for both classical and acoustic guitars. Explore our different offerings below to find out which set best suits your sound and playing style.

Ernesto Palla Clear & Silver Nylon Strings Classical Guitar Strings Clear & silver nylon strings are our most popular classical strings. These concert quality strings produce a smooth, rich tone with excellent clarity and performance.

Ernesto Palla Black & Silver Nylon Strings for Classical Guitar Black nylon strings made from a different material composition produce a warm, pure sound with more high frequencies. Black nylon strings are the most popular among folk guitarists.

Ernesto Palla Black & Gold Ball-End Nylon Classical Guitar Strings Gold wound basses are made of 80/20 bronze wound around a nylon multifilament core delivering a smooth, rich tone. These strings feature a ball-end construction for quicker and easier installation over traditional tie-end strings.

Acoustically

Earthwood Acoustic Guitar Strings Our Earthwood Acoustic Guitar Strings are available in our Phosphor Bronze for a smooth, ringing tone, while our 80/20 Bronze produces clear, pleasing overtones.

Paradigm Acoustic Guitar Strings Our Paradigm acoustic guitar strings are available in both 80/20 and phosphor bronze. These strings offer unparalleled strength and longer string life while retaining the tone and feel of 100% Earthwood.

Aluminum Bronze Acoustic Guitar Strings Ernie Ball aluminum bronze acoustic guitar strings feature more projection and clarity than traditional bronze strings while offering improved corrosion resistance. Aluminum Bronze Acoustic Strings are made with Ernie Ball Maraging Steel hex cores and Aluminum Bronze winding wire that offers more pronounced bass paired with crisp, brilliant highs. Constructed from a blend of copper and aluminum specifically tailored for acoustic guitar strings.

Everlast Coated Acoustic Strings Our Everlast acoustic strings are available in both 80/20 and phosphor bronze. Ernie Ball Everlast Coated Acoustic Guitar Strings use breakthrough nanotechnology that repels unwanted moisture and oils that negatively impact your tone. Our proprietary treatment is applied to both the inner hex core and outer wrap wire to provide ultimate protection without sacrificing tone or feel.

Would you like to see our classical guitar strings in action? Check out Steve Morse playing Ernie Ball Ernesto Palla Clear & Silver Nylon Classical Guitar Strings.

Do I have an acoustic or classical guitar?

Although comparing body shape isn’t always the easiest way to tell apart the two, there is one key difference in construction that’s easy to spot: acoustic guitars usually have a scratch plate (the piece of plastic next to the sound hole that protects the body of the guitar while you play), and classical guitars do not …

Lyle guitars

When enrolling your child in guitar lessons for the first time, you may need to decide which guitar to learn: a classical guitar or an acoustic guitar. Many who are new to guitar playing unknowingly believe that the terms “acoustic” and “classical” are interchangeable when in reality they refer to two entirely different types of guitar. Although they both belong to the guitar family, there are many variations in design between the two guitars. Below are some of the most common differences between classical and acoustic guitars.

body shape

Although you have to actually pick up the guitar to notice some of the differences on this list, the difference in body shape can be visually discerned. Classical guitars are slightly smaller than acoustic guitars and there are some slight differences in the actual shape of the body. While comparing body shape isn’t always the easiest way to tell the two apart, there is one key construction difference that’s easy to spot: Acoustic guitars typically have a scratch plate (the piece of plastic next to the sound hole that protects the body). the guitar while you play), and classical guitars do not. So when all else fails, look for a scratch plate – in most cases it’s present on acoustic guitars and absent on classical guitars.

When it comes to the fretboard, an acoustic guitar’s fretboard is noticeably narrower, and classical guitar’s fretboard doesn’t have fret markers (or dots) along the board. In addition, the headstock differs noticeably between the two instruments.

strings

Another differentiating factor is the type of strings the two guitars require. In most cases, classical guitars use nylon strings, which look, feel, and sound different than the steel strings typically reserved for acoustic guitars. They are thicker and produce a softer, more rounded sound. Although some new guitarists are trying to use nylon strings on acoustic guitars, the weak tension of nylon strings creates a thin, weak sound. If you were to put metal strings on a classical guitar, the tension would likely pull up the bridge, bending the neck and causing permanent damage over time. To avoid damage and to maintain the guitar’s intended tone, stick to the recommended strings for your guitar.

Silver plated wound strings, clear nylon treble hooks, normal tension. D’Addario is the world’s largest manufacturer of strings for musical instruments. Many top guitarists don’t play any other brand. Whatever your playing style, D’Addario has the right string set for your classical guitar. Learn more.

What is a truss rod?

The truss rod, or a rod designed to counteract the tremendous pressure that steel strings exert on the guitar’s neck, is absent on classical guitars but is present on acoustic guitars. Since acoustic guitars use steel strings and classical guitars don’t, there’s no reason to make a classical guitar with a truss rod. Usually the truss rod is visually identifiable – just pick up the guitar, hold it lengthwise with the neck toward you, and you should be able to see a screw or hole hiding under the plastic plate next to the top nut is on the headstock. In rare cases, the truss rod can only be found after removing the fretboard. If your child decides to play an acoustic guitar, an important part of maintaining a guitar is knowing how to adjust the truss rod.

Benefits of Learning Acoustics

Compared to a classical guitar, an acoustic guitar’s neck is smaller and easier to play—especially for young children with small hands or short fingers. Additionally, acoustic guitar strings are a great way for guitarists to build up their calluses. Once your child’s fingers are calloused, they can pick up and play virtually any guitar, including classical ones. If your child is patient enough to deal with the buzzing problems and callous formation on their fingers, an acoustic guitar is a good choice. Also, they are a very popular choice and; therefore fairly easy to find and afford, even on a budget.

The LD-100PKG combines our LD-100 guitar with everything you need to start your musical journey – guitar, gig bag, instructional DVD, tuner, picks, strap and strings. Learn more.

Advantages of classical learning

Although classical guitars are less popular than acoustic guitars, they are still a viable option for those interested in learning to play the guitar. Classical guitars are a great way for a person of any age and skill level to work on, improve and perfect their technique. Since the neck of a classical guitar is thicker than that of an acoustic guitar, the player has to be meticulous with his technique. Classical guitars are strung with nylon strings, which tend to be easier on the fingers and less difficult for a new player to get used to. Finally, classical guitars tend to be cheaper than acoustic guitars, which is why many new players unknowingly buy a classical guitar as their first instrument.

Beginners and young learners alike will appreciate the quality level of the Yamaha C40 Classical Guitar. This instrument offers excellent value for money with remarkable playability and tone. The C Series are full-size instruments with a level of quality that only Yamaha can deliver. Housing sold separately. Learn more.

What’s right for me?

If you’re on a tight budget, an acoustic guitar might be a better choice, while a kid who wants to learn Latin or folk music might be better off with a classical guitar. By now you’ve probably realized that there is no such thing as a “best” choice. You should weigh your options and talk to your child about which guitar will inspire them to practice and learn guitar. Because that’s what matters in the end.

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Where are vintage guitars made?

Vintage® guitars are designed in the UK and built to exacting standards using only the best quality hardware, pickups and tone woods. The Vintage design team’s relentless quest for innovation, authentic tone, outstanding playability and great looking instruments delivers true working musicians tool’s.

Lyle guitars

Vintage® guitars are designed in the UK and built to strict standards using only the finest quality hardware, pickups and tonewoods.

The Vintage design team’s relentless pursuit of innovation, authentic tone, superb playability, and great-looking instruments delivers true working tools for musicians. Vintage instruments are the go-to choice for everyone from beginners to seasoned pros.

Where are Vintage v100 guitars made?

The ProShop Unique electric guitars were launched just before the pandemic at Winter NAMM 2020. However, these instruments are created from standard Vintage Reissued or Icon models in Garforth, Leeds, at JHS’s HQ.

Lyle guitars

The V120 is a great junior-style build with real aged finish – definitely worth a punt, while the V100 is the best new vintage guitar we’ve played.

Most recently, we caught up with Vintage, the house brand of major and long-standing UK distributor John Hornby Skewes (JHS), to celebrate its 25th birthday.

Many gamers will be familiar with its legal copies of many classics, and the company was also quick to jump on the Relic bandwagon with its Icon range, which began back in 2006 and currently includes over 20 models that have aged at their source in East Asia.

The ProShop Unique electric guitars were introduced at Winter NAMM 2020 just before the pandemic. However these instruments are made from standard vintage Reissued or Icon models in Garforth, Leeds at JHS’ headquarters. It’s not really an assortment, but rather an ongoing collection of one-offs, often quite badly damaged, using a selection of aftermarket parts.

Each guitar includes a luxury vintage-branded gig bag, ProShop leather strap, pick case, t-shirt and certificate of authenticity.

With all modding and post-processing done in the UK, these ProShop Unique models can easily double the prices (or more) of regular vintage models – and builds so far start at £569 for a slightly relied standard Strat-inspired V6, up to £1,299 for a bare-knuckle equipped V52 Keef-style 5-string dubbed ‘Brown Sugar’.

We’ve been asked to specify a few builds for this review. Here’s what we have…

V120

(Image credit: Future/Neil Godwin)

A lot of people who create one-off relics like to have a backstory in mind as it can really affect the choice of upgrades and relic tier. This is based, for example, on this author’s experience of being asked a few years ago to review a Les Paul Junior that had been offered to a friend.

Apparently a 50’s junior, previously owned by a big name player, it had been heavily, er, customized with a bright red finish. The headstock might say Gibson, but we couldn’t find any part on the guitar that we could 100% identify as genuine Gibson. For all we knew it could have been a copy with a fake Gibson spindle platter masquerading as a filthy real LP Junior.

Nobody will confuse this V120 with the original. The headstock, with its fluted square top, might not be as graceful as some, and the V120 and our V100 share a similarly thin and pointed horn on the treble side, as well as a curved shape at the top of the body reminiscent of an Aria Pro Me am more than a Gibson from the 50’s.

(Image credit: Future/Neil Godwin)

Based on the vintage V120TB, which will cost you £339, the body and neck are specified as mahogany – that’s all we know – and you can certainly tell by the simulated wear on the red finish. While it’s not the lightest Junior we’ve come across, it’s only marginally heavier than our original.

The only other wood we can see, the fretboard, is actually something called Lignum Rosa, a name created by veteran guitar designer Alan Entwistle (the man behind the Revelation brand) for this multi-ply wood construction that is “quarter-sawn”. So the layers create a grain that is at right angles to the face. It actually looks like rosewood, although the fretboard here is much darker than the V100.

Aside from the aged Refin, the upgrades over the standard Reissued model are extensive: Grover Deluxe strip tuners, Graph Tech’s ResoMax wrapover with intonation, and a Bare Knuckle Boot Camp Old Guard dog-ear P90.

All hardware and paint aging is done in-house, and every ProShop Unique also gets a fairly thorough set-up, including a fret level, new crown and polish, and noticeable work on the edges of the fretboard. All in all, it’s a pretty thorough overhaul.

V100

(Image credit: Future/Neil Godwin)

Based on the V100 Boulevard Black (over Gold) that we’ve seen in the current ProShop Unique collection, we simply asked for a lighter aged finish and a pair of Bare Knuckle Boot Camp Old Guard humbuckers to expand on the Bigsby that’s so has aged as it is the bridge with its lockable roller saddles.

The Grover Rotomatics also look nice and have rear locks, the top hat knobs are mismatched in color and there is no collar around the toggle switch. Headstock and shape aside, this looks like a Les Paul Standard of a certain age that has been modified and heavily gigged over the years.

While our V120’s red-over-sunburst finish is fairly realistic in its wear, and the red topcoat has a matte sheen and no cracks or crazing, it’s more like a Gibson VOS finish with a few more dents, to be honest .

(Image credit: Future/Neil Godwin)

However, the black body surface of this V100 is noticeably cracked, which is more easily reflected on the headstock surface, while the back, sides and neck comb (pretty much the standard factory finish) look like they were refinished in the 70’s with sandpaper and a spray can .

The vintage and fleur de lis spinplate inlays look like they’ve had a chicken wire brawl in front of the stage – and you know, of course, that it’s all make-believe, but you can really imagine the life and history of a guitar that ends up looking like this.

The brass covers of the rear cavities are certainly reminiscent of the brass parts craze of the late ’70s; The fact that they are actually hand cut from old sheet brass only adds to the backstory. Numerous little details like this really add to the illusion.

As with the V120, the only bare wood we can see is the man-made fretboard, but the spec says this is a mahogany body with a maple top. The thicker body, not to mention Bigsby, contribute to the weight here, which is just over the 4kg mark. But that’s not too difficult and frankly, if you can live with the fact that it has the wrong headstock and horn shape, what’s not to like?

(Image credit: Future/Neil Godwin)

feeling & sounds

It’s fairly rare, to say the least, that we find that new review guitars need to be cleaned and re-strung before we test them. Neither of these, of course, but we can’t shake the feeling that these are instruments we’ve just bought off eBay – in which case the first thing we would do is clean them, re-string them and build them up. But no, you can get started, certainly in terms of playability.

On our V120, the fret ends don’t have boutique roundness at their ends – again, they feel and look like a competent fret from a few years ago. The fretboard edges come in nicely, and here’s a neck shape that falls somewhere between a taller rounded ’50s style and a slimmer ’60s style. Extremly good.

The neck of the V100 is slightly narrower in width and depth, the bridge of the neck is slightly rougher and less smooth to the touch. In terms of sound, our two clones do the expected job with a little panache.

The V120 certainly doesn’t detract from the heritage of the guitar it’s modeled on: that very direct, harsh mid-voice is definitely here. No, it doesn’t match the depth of the original or its booming resonance, but it’s in this ballpark; as is the range of the controls. But even if you’re playing with both controls cranked up, a full-chat Junior is quite a deal, as is this V120. The V100 also has its own thing going on.

(Image credit: Future/Neil Godwin)

The Old Guard Boot Camp units have to be one of the best pickup swaps you can do, and with a bit of heat at the bridge, let’s drop straight into the PAF world. Combined with the construction, you’ll struggle to get icy highs out of the bridge pickup, while the Bigsby just seems to give the voice a little more openness.

Played fairly clean and loud, it’s a very valid example of the style. Add some Marshall-esque grit and things just get better; our reference Gibson Les Paul Classic now sounds a bit underpowered with its upgraded Burstbucker 1 and 2. There’s also a noticeable midrange difference, with the Vintage being just a little more open; the real thing has a little more growl.

The Bigsby does interfere with the neck pickup volume, but that’s a compromise we can live with. This is an extremely usable piece that not only feels far better in the hand than any standard V100 we’ve tried over the years, but is on a completely different level sonically. We’d have no hesitation in taking this to a gig.

(Image credit: Future/Neil Godwin)

Verdict

These are pretty difficult guitars to rate. First off, they feel in a completely different league than any new vintage guitar we’ve ever played, underscoring how a lower-end guitar that’s properly tuned and retuned can really perform at a much higher level , than its original price would suggest.

Add in the comfort treatment for the necks, the great-sounding bare-knuckle pickups, and the vintage vibe that comes from the very believable aging, and we’re scratching our heads a little. On the one hand, we’ve been conditioned that vintage has prices in the low to mid three-digit range.

Considering the cost of labor and parts, we’re not saying these are overpriced – they just seem expensive, don’t they? Well, until you try to find a new guitar of equal value. Or are we just badge snobs? Slaves to these classic brand names on our headstocks.

Please reply on a postcard. It really depends on personal preference. But based on the evidence presented, we’d happily take these with us on every stage and leave our perhaps more valuable instruments in the case. Beaters with huge vibes and sounds that are perfectly good enough? We can only say yes.

(Image credit: Future/Neil Godwin)

specifications

Vintage Pro Shop V120

(Image credit: Future/Neil Godwin)

PRICE: £999 (incl. gig bag)

£999 (incl. gig bag) ORIGIN: China/Vietnam

China/Vietnam TYPE: Single-Cutaway Solidbody Electric

Single Cutaway Solid Body Electric Guitar BODY: Mahogany

Mahogany NECK: Set in mahogany

Mahogany, set in SCALE: 629mm (24.75”)

629mm (24.75″) NUT/WIDTH: Graph Tech NuBone/43.2mm

Graph Tech NuBone/43.2mm FERTBOARD: Lignum Rosa, pearloid dot inlays, 305mm (12”) radius

Lignum Rosa, pearlescent dot inlays, 305mm (12”) radius FRETS: 22, medium jumbo

22, Medium Jumbo HARDWARE: Graphtech ResoMax Sonic 1 winding bridge, Grover V138N machine heads – aged nickel

Graphtech ResoMax Sonic 1 winding bridge, Grover V138N machine heads – aged nickel. STRING SPACING, BRIDGE: 52.4 mm

52.4mm ELECTRICAL: Bare Knuckle Boot Camp Old Guard P-90 single coil with dog-ear cover, master volume and master tone

Bare Knuckle Boot Camp Old Guard P-90 Single Coil with Dog-Ear Cover, Master Volume and Master Tone WEIGHT (kg/lb): 3.55/7.81

3.55/7.81 OPTIONS: Visit the Vintage website

Check out the vintage website. CHOICE OPTIONS: In the standard Vintage Reissues range, the V120 starts at £339; the aged vintage icon costs the same

In the standard Vintage Reissues range, the V120 starts at £339; the aged vintage icon costs the same LEFT-HANDED: Not this model

Not this model FINISH: Aged Red over Sunburst – Aged Acrylic Topcoats

Vintage Pro Shop V100

(Image credit: Future/Neil Godwin)

Do all Gibsons have serial numbers?

Gibson stopped the stamped serial numbers at the end of 1960, although a few instruments were made in 1961 with a 1 as a prefix. Some lap steels and Les Paul’s from 1961 have such a serial number.

Lyle guitars

Gibson serial numbers 1952 to 1961 solid body model

A number stamped in ink on the back of the headstock.

Gibson’s Solids were published in 1952. Gibson did not use serial numbers at the time, but started in 1953.

The first digit of the serial number is the last digit of the year. If the stamped number consists of 5 digits, there is a space between the first and second digit (a separation between the last digit of the year and the actual serial number).

If it is a 6-digit serial number, there is no space because the highest 4-digit number (9999) has been exceeded and the space is filling up. This was the case in 1955, 1956, 1959 and 1960.

In 1955, Gibson forgot to reset the series of serial numbers to 0001.

So you had just changed the year from 4 to 5. For this reason, the range of 4-digit serial numbers after 9999 has been exceeded.

So 5 digits and no space between the year (5) and the serial number. (after 5 9999 came 510 000)

Apparently production was high in 1956 because 6 exceeded 9999. Production was also high in 1959 and 1960, exceeding 9,999 to 932,000 or higher.

So from the production of 1959 a 1, 2 or 3 can be the second digit.

Gibson stopped stamping serial numbers in late 1960, although some instruments were made in 1961 with a 1 as a prefix. Some 1961 Lap Steels and Les Pauls have such a serial number.

Another exception to the above rules is in the fall of 1958, where some Les Paul Juniors and Specials had a four-digit serial number.

1st digit YEAR OF PRODUCTION None 1952 3 1953 4 1954 5 1955 6 1956 7 1957 8 In late 1958 some LP Juniors/Specials had a four digit serial number without a preceding year digit 1958 9 1959 0 1960 1 (rare) 1961

Gibson serial numbers, from February 1961 to 1970

Gibson began a new serial number system in 1961.

They wanted to use a more structured progression of sequences, but in practice the opposite happened. The numbers were reused during this period, and in many cases the numbers were not strictly applied to subsequent years.

All models have the serial number stamped on the back of the headstock. A number of serial numbers were duplicated beginning in 1963

until 1969.

From this period, the 5 and 6 digit numbers are easily confused and indicate an incorrect year.

Serial YEAR OF PRODUCTION

0100 – 42440 1961 42441 – 61180 1962 61450 – 64222 1963 64240- 1963 or 1967 106100 – 106899 1963 109000 – 109999 1963 or 1967 110000 – 111549 1963 111550 – 115799 1963 or 1967 115800 – 118299 1963 118300 – 120999 1963 or 1967 121000 – 139999 1963 140000 – 140100 1963 or 1967 140101 – 144304 1963 144305 – 144380 1964 144381 – 149864 1963 149865 – 149891 1964 149892 – 152989 1963 152990 – 174222 1964 174223 – 176643 1964 or 1965 176644 – 250335 1964 250336 – 305983 1965 306000 – 310999 1965 or 1967 311000 – 320149 1965 320150 – 320699 1967 320700 – 329179 1965 329180 – 330199 1965 or 1967 330200 – 332240 1965, 1967 or 1968 332241 – 348092 1965 348093 – 349100 1966 349121 – 368638 1965 368640 – 369890 1966 370000 – 370999 1967 380000 – 385309 1966 390998 1967 400001 – 40666 1966 – 409670 1968 409671 – 410901 – 419999 (Niet Bekend) – 502706 196 5 or 1968 503010 – 503109 1968 503405 – 520955 1965 or 1968 520956 – 530056 1968 530061 – 530850 1966, 1968 or 1969 530851 – 530993 1968 or 1969 530994 – 539999 1969 540000 – 540795 1966 or 1969 540796 – 545009 1969 555000 – 557999 1966 558000 – 567400 1969 570643 1966 570755 1967 570857 – 570964 1966 580080 1969 580999 1966, 1967 or 1969 600998 1966, 1968 (OR END6) 606 – models) 700000 – 700803 1966, 1967 or 1969 750000 – 750999 1968 or 1969 800000 – 800999 1966, 1967, 1968 or 1969 801000 – 812838 1966 or 1969 812900 – 819999 1969 820000 – 820087 1966 or 1969 820088 – 823830 1966 824000 – 824999 1969 828002 – 847488 1969 847499 – 858999 1969 859001 – 891999 1967 896999 1968 897000 – 898999,000 – 8999 1968 900000 – 90999999999999

Gibson serial numbers, early to mid 1970’s

From 1970 to 1975 the 6 digit serial numbers were randomly generated.

Numbers were stamped on the back of the headstock in random order. With some instruments with a prefixed letter.

In 1970 the orange labels on the body of acoustic guitars were replaced with white ones with orange rectangular labels.

The electric models featured a rectangle with a black and purple triangle.

From 1970 “MADE IN USA” was also stamped on the back of the headstock. Some instruments from the fifties also had such a stamp.

Gibson serial numbers, 1970-1975

After production resumed at Gibson’s new company, Norlin (1969-1986), the same confusing six-digit serial number system from the 1960s continued through 1975. (see: Norlin)

This means that instruments with the same serial number were manufactured in either the 1960s or 1970s.

Guitars were given six digits in random order, and in some cases they were preceded by a letter that seemed to have no meaning.

Note that serial numbers between 1970 and 1975 may be a repeat of 1964 and 1965 serial numbers. In 1970, some 6-digit serial numbers had the letter A as a suffix.

The table below shows the years to which the figures may relate.

Seral Number Range Production Year 000000 – 099999 1973 100000 – 199999 – 1975 – 299999 1973 – 1975 – 399999 1975 400000 – 49999 1975 500,000 – 59999 1975 600000 – 699999 1972 and 1974 – 1975

Limited editions

The limited editions from 1975 to 1977 have a gold-colored serial number and the imprint “Made in USA”. These serial numbers are preceded by 2 digits. 99 = 1975, 00 = 1976 and 06 = 1977.

Series 1977 – June 2005

Gibson’s most enduring numbering system was introduced in 1977, an eight-digit number. The first and fifth digits represent the year of manufacture. The three digits in between, the day of this year.

The digits six through eight indicate the sequence number.

Example: 80923015

8 092 3 015 is: 19 83, day 092 (day 92 of 1983 is April 2), production number 015.

After the opening of the new Nashville factory, production was also included in the serial numbers. 001 through 499 appeared on instruments built in Kalamazoo, 500 through 999 built in Nashville.

Even after the Kalamazoo plant closed in 1984, this process continued until 1989 in Nashville.

In July 2005 this 8 digit system was updated by adding 1 digit. The 6th digit is now the batch number and the last 3 digits are the sequence number of the batch. The sequence number runs from 500 to 699.

Example:

1 131 4 2 030 is the 30th instrument from batch 4 dated May 11, 2014.

When 699 is reached, the batch number is increased by 1 and the sequence number is reset to 500.

This coding system was used until 2014.

At the beginning of 2014, this system was changed again.

The tag and batch number were no longer included in the serial number. The serial number now consists of 9 digits, of which the first 2 indicate the year and the next 7 digits indicate the consecutive number.

16 0001234 is the production year 2016 with the sequence number 0001234.

Serial number punching machine, Gibson factory

Gibson closed the Memphis facility in April 2019.

The production of “USA made” solid body guitars only takes place in Nashville.

How do you decode a Gibson serial number?

Gibson did not use serial numbers at that time but started in 1953. The first digit of the series number is the last digit of the year.
…
Gibson serial numbers, from February 1961 until 1970.

Serial number	PRODUCTION YEAR
320700 – 329179	1965
329180 – 330199	1965 or 1967
330200 – 332240	1965, 1967 or 1968