Browse Dave’s Collection

“Welcome to the guitar collection. On the second floor of our store we have on display over 300 guitars and more than 50 amps that I’ve accumulated over the years. The friends and customers that have visited us seem to really appreciate being able to view this, so we thought we would share it with our online friends and fellow guitar enthusiasts as well. Enjoy!”

- Dave Rogers

The items in Dave’s Collection are not available for purchase.
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Gibson Thunberbird II Bass, ’64

Sunburst, "Reverse body", Serial number 194617.

Gibson J-160E, ’65

Sunburst, Serial number 252074.

Gibson ES-335, ’59

Natural, Serial number A30855.

Gibson L-7, ’49

Natural, Serial number A2454.

Gibson L-7C, ’50

Natural, Serial number A4584.

Gibson ES-335, ’62

Cherry, Serial number 73855.

Rickenbacker 950, ’63

Fireglo, Serial number CE510.

Gretsch 6120, ’59

Western Orange, Serial number 33066.

Rickenbacker 366, ’67

Fireglo, Serial number GI4142. The flat-top 12-string guitar was a foundation of the folk music movement of the early ‘60s. This inspired Rickenbacker to manufacture an electric 12-string in 1963. Although other companies had made earlier attempts (Gibson and Danelectro), the Rickenbacker 12-string electric became the most sought after because of its association with George Harrison of the Beatles.   Musician, inventor James E. Gross was intrigued by the electric 12- string and decided to put his imagination to work on improving it.  Gross had been born in Lafayette Indiana in 1931, and began playing music professionally at a very young age. He was distinguished as a performer and band leader in the Chicago area for many years. He became well-known for playing unique double neck banjos, and combining comedy with exploding light shows and robots. Gross approached Rickenbacker’s owner F.C. Hall in 1966 with his practical, easy to install converter device.  This “converter comb” could turn a 12-string into a 6-string (or any number in-between). When the converter was engaged it pulled strings down away from the player’s right hand, leaving only the desired number of strings to be picked. Gross demonstrated the converter at the July 1966 NAMM show. A licensing agreement was signed in August, and the guitars went into production by winter.   The guitars produced were the 336/12, the 366/12, and the 456/12. The original Rickenbacker advertisement copy read: “Now, one instrument – the most versatile guitar ever made – ends the need for carrying extra guitars. By means of an exclusive, patented converter on the brilliant Rickenbacker 12-string guitar, any combination of strings can be played.”   The 1967 366/12 pictured was James Gross’ personal guitar. It has most of the features associated with classic Deluxe Rickenbacker models of the’60s. These include: a bound maple neck, gloss finished rosewood fingerboard with large triangle shaped inlays, two “toaster” single coil pickups, maple body with checker board binding on the back, slash soundhole, and “R” tailpiece. This example is finished in Rickenbacker’s most popular color, Fireglo. The main differences between it and a regular 360/12 are the chrome converter comb, and the extra pickguard under it, extending across all twelve strings.

Strat, ’57

Sunburst, Alder body, Serial number 024384, I bought this lovely '57 Strat along with a matching Tweed Super many years ago. This pair came from the "north woods" of Wisconsin. I remember paying what I thought was top dollar for these back then, and they sure are clean.

Rickenbacker 325, ’64

Fireglo, Serial number DG894. F.C. Hall, owner of Radio & Television Equipment Co. (Radio-Tel) purchased the Electro String Company from Adolph Rickenbacker in1953. Hall overhauled the business and began focusing on standard electric guitars rather than the steel guitars the company pioneered. By 1958 he developed a new line of thin hollow-body electric guitars known as the Capri series (named after the Hall family’s cat). German born guitar maker Roger Rossmeisl (hired in 1954), was responsible for the unique design of these instruments. This distinctive look continues in most Rickenbackers to this day. The Capri series consisted of Models 310-375. Models ending in zero had no vibrato, while those ending in the number five had one.   The first Capri model announced was the three-quarter size 325. This petite, lightweight guitar didn’t achieve its intended popularity until it was seen being used by John Lennon of the Beatles. Lennon acquired his natural finish 1958 325 while the Beatles were in Hamburg, Germany. The Beatles’ growing popularity caused a sudden demand for Rickenbacker guitars (initially in England). To meet this need, the British company Rose, Morris became Rickenbacker distributors. The export version of the 325 was known in Rose, Morris’ catalog as the Model 1996. It, like most other export models had a Fireglo finish, and a traditional F sound hole. Lennon used one of these as a backup to his more famous solid top Jetglo (black) 1964 325.   The other rock ‘n roll legend known for using a 325 is John Fogerty of Creedence Clearwater Revival. His Fireglo 325 can be heard playing searing lead on CCR’s covers of “Suzie Q” and “I Put a Spell on You”. The hollow body of the Rickenbacker combined with his Kustom amp produced a musical controlled feedback on both the recorded and live versions of these songs.   The 1964 325 pictured has the features most often associated with the export Rose, Morris Model 1996. These include: a one-piece three-quarter scale maple neck with an unbound twenty one fret lacquer finished rosewood fingerboard, three “toaster” single coil pickups, a hollow maple body, F shaped sound hole, and Ac’cent vibrato tailpiece.

Paul Reed Smith Custom 24, ’91

Vintage Yellow, Serial number 110404.

Paul Reed Smith Artist I, ’92

Dark Cherry Sunburst, Serial number 214788.

Martin D-18, ’57

Natural, Serial number 158407.

Rickenbacker 360/12, ’68

Mapleglo, Serial number HJ1574.

Martin F-7, ’35

Sunburst, No serial number.

Gibson ES-5 Switchmaster, ’59

Sunburst, Serial number A30449. By the late 1940’s, after the slowdown in factory production during World War Two, Gibson was once again focused on expanding its electric guitar line. The ES-5 was introduced in 1949 as “the supreme electronic version of the famed Gibson L-5”.   While the ES-5 shared the L-5’s dimensions and block fingerboard inlays, it was constructed like the other Gibson electric guitars available at that time; with a laminated top, back and sides. Not until the introduction of the Super 400CES and L-5CES in 1951 would solid carved wood archtop electrics be available as regular models. The existing ES-300 and ES-350 models had been recently upgraded to two P-90 pickups, but the upscale ES-5 had three. Pickup combinations were accomplished by setting the individual volume controls to attain the desired blend.   Falling sales after 1952, prompted Gibson to redesign the ES-5 with upgraded pickup switching capabilities. The ES-5 Switchmaster was launched at the July 1955 NAMM show. By 1958, the guitar was improved once again, this time with three “Patent Applied For” humbuckers replacing the P-90s.   The March 1959 Gibson catalog describes the features: Arched top and back of highly figured, curly maple with matching curly maple rims – alternate black and white ivoroid binding – modern cutaway design – three-piece curly maple neck with Gibson Adjustable Truss Rod – bound rosewood fingerboard with block pearly inlays – Tune-O-Matic bridge – three powerful, humbucking pickups with individually adjustable pole pieces – separate tone and volume controls which can be preset – four-way toggle switch to activate each of the three pickups separately, in combination of any two, or all three simultaneously – gold-plated metal parts – exclusive new tailpiece design – laminated pickguard with attractive border – individual machine heads with deluxe buttons.   The pristine 1959 Switchmaster pictured, matches the original catalog description except for having Grover Rotomatic tuners, which replaced the Kluson Super tuners seen in previous years.

Gibson ES-175, ’57

Sunburst, Serial number A25586.

Fender Strat, ’64

Candy Apple Red, Serial number L45572.

Vox Model “AC-30ST” ’64

Black tolex, Serial number 04308B.

Fender Model “Tremolux Amp. AB763″ ’66

Black tolex, Serial number A06527.

Fender Model 5C5 “Pro-Amp” ’53

Tweed, Serial number 221.

Gibson Les Paul Model, ’56

Black, Serial # 65398, Very rare to see one of these in all Black. This one is not in pristine condition, but it is certainly rare enough to where it deserves a spot in the collection. When Gibson teamed up with renowned recording star Les Paul in 1952, the company created a guitar that became one of the most influential and popular instruments of all time:  The Les Paul Model. The Les Paul, with its solid mahogany body and carved maple top, evolved through the 1950’s as practical improvements were introduced. By 1956 (the same year as the pictured example), the bridge had been modified twice from the original trapeze/bridge tailpiece designed by Les Paul. The first change of 1953 was the wrap-around stop bar tailpiece screwed right into the guitar’s top. This increased sustain, and allowed for palm muting the strings. Finally, in 1956, the classic separate stop bar and fully adjustable Tune-O-Matic bridge combination was added (previously a standard feature only on the Les Paul Custom launched in 1954). This allowed for near perfect intonation.  1956 was also the final full year (of its original run) that the Les Paul Model was offered with P-90 pickups.   The Les Paul pictured is a typical 1956 Goldtop in most ways except for the rare custom all-black finish. A deep ebony black lacquer had been used on various Gibson’s since Orville’s time, and was then standard on the Les Paul Custom. It’s very rare to see the regular Les Paul Model with anything but the usual brilliant gold (bronze powder mixed with lacquer) shade. This guitar was assembled with the customary cream colored plastic for the pickup covers, pickguard, and “RHYTHM TREBLE” surround. Black knobs were substituted for the standard gold ones.

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