Welcome to Boyd’s Guitar Warehouse, the one stop electric guitar parts shop.  We are an Ebay Store that focuses only on selling used electric guitar parts and the lowest prices on Ebay.  Our main focus is on the major brand guitars such as Fender, Gibson, Ibanez, Jackson, ESP, and Epiphone.  We sell all parts from bodies, necks, bridges, electronics, pickups, tuning pegs, locking nuts, and neck screws.

We strarted our business November of 2008 as a part time business.  After seeing the high interest of people  upgrading and building custom electric guitars we started talking about running our business full time and quit our jobs.  Within a week after my wife and I had that discussion I was laid off from my mechanical engineer job without any severence package.  So we decided to go full time into our Ebay business and thought this was our best choice.  This is when we launched our Ebay Store Boyd’s Guitar Warehouse end of January 2009.

Since our decision my wife and I have sold thousands of guitar parts all over the world.  We are selling around 400 guitar parts every month and couldn’t be happier with the decision of helping guitarist achieve their goals of finding that tone or building that guitar that they have always wanted.  We look forward to serving you and your friends on your next order.

Thanks,
Brandon Boyd
Boyd’s Guitar Warehouse

The other day I took time out in a guitar shop… Nothing weird there you might think – but actually, there was…
I love my old guitar (can’t play it like) and while it’s travelled the globe with me, it has bad pickups and the neck/frets are wearing out. My guitar is a beastie I’ve often been told does not exist as Epiphone apparently never made a ‘Strat-copy’! Well, they did and it’s called the Epiphone S310, they also made a T310, and I’ll leave you to work out what that baby was. I have a particular problem and that is with picking out or playing a lower string without the noise of the chord just played drowning it.
Everyone I know has directed me toward the Gibson Les Paul and for those of your who know – they’re not cheap! They can be anywhere from £1200 to prices in excess of £3000!!
Oddly. There is little difference between the models, so the prices are crazy.
Now, Gibson also make/own Epiphone. Epiphone are apparently made in Qingdao, China and from left over timber stock from Gibson’s Nashville factory. But they’re also made to the same exacting standards.
Any way, I’m in this guitar shop and there is a Gibson Les Paul and the exact same version of guitar with the Epiphone name on it. With identical amplifier settings I tried out both guitars extensively.
And you know what I’m gonna say don’t you – there was ZERO noticeable difference in the playability, quality and more importantly the tone!!! I even think the Epiphone was slightly better quality overall than the Gibson!
So, as with all things in life, it all comes down to the prices. £257 vs £2300… After all, I can have 4 guitars for the price of one and there just has to be a good one in there somewhere! lol

I think there maybe a new guitar around here soon!

Käytetty Gibson Les Paul Special Faded 900€

Mint-kuntoinen 2005-mallin Gibson kaupan!

Epiphone Vee Wee Rave Rig -paketti 220€

Epiphone Les Paul Pee Wee Rave Rig -paketti 220€

Epiphonelta on ilmestynyt kaksi harvinaisen hyvin pukin konttiin sopivaa kitarapakettia jotka sisältävät miniversion joko Gibsonin Flying-V:stä tai Les Paulista, gigbagin, hihnan ja pienen matkavahvistimen. Sopii lapselle ensikitaraksi tai aikuiselle vaikkapa matkakitaraksi!

Epiphone Rave Rig -paketti 220€

this is s o damn mean!

yesterday the band KILL HANNAH was the victim of a crime.

all theyr stuff was stolen in philadelphia,

they had to cancel shows and are in a very silly situation (nicely said).

the official press release sais:

Chicago nu romantics KILL HANNAH woke up on the eve of wrapping their fall tour with Jet, Papa Roach and Morningwood to a find their 15-passenger van and 14-foot trailer stolen. Taken between 4am and 11am today, Wednesday, November 11 from the front of the Holiday Inn on 900 Packer Ave, Philadelphia, PA—the same location that rock trio Mae had their van stolen from just a week earlier—the band lost over $120,000 in gear and merchandise, including one-of-a-kind vintage custom guitars and vintage custom effects. The theft comes just over a year after a devastating fire in Europe destroyed everything on the band’s bus.
Lead singer Mat Devine says, “We’re devastated and speechless. We’ve been touring so hard around the world for the past seven years and this is the most evil thing we’ve witnessed. Special Crimes say this was a coordinated heist.”
The band regretfully has to cancel their remaining tour dates, scheduled for the Electric Factory in Philadelphia tonight and the Nokia Theatre in New York City tomorrow. Their seventh annual “New Heart For Xmas” weekend of shows and events are still scheduled in Chicago on December 18 at Reggie’s Rock House and December 19 at Metro.

www.killhannah.com

LET´S TRY TO MAKE IT IMPOSSIBLE FOR THOSE THIEVES

 

TO SELL THE STOLEN KILL HANNAH STUFF!!!

WATCH EBAY AND PHILLY AREA PAWN SHOPS FOR THESE ITEMS:

* Epiphone Elitist Riviera Custom Shop SN#T301722
* 1992 Ernie Ball Music Man Stingray Bass
* Pair of matching vintage 1968 Fender Bassman Heads Custom Shop
* Gibson ES-135 RED
* 2003 Gibson Firebird WHITE
* Marshall Triple Lead Stack

For any leads on the van, trailer or missing gear, please contact Bethany Watson/DAVIS ARTIST MANAGEMENT: bethany@davisartistmanagement.com.

if you have a blog, copy this post and spread the word…tell your friends….it´s the least we can do to help the band in this situation.

btw, they have a new record out “WAKE UP THE SLEEPERS”

you can read a nice review and a lot more about them here in this blog

http://www.devilgossip.com/2009/10/09/kill-hannah-finally-wake-up/

♥

UPDATE: VAN FOUND!

 

Dirtblonde’s Liverpool Music Week gig at The Masque, supporting Bombay Bicycle Club, was a classic for the band.

Dirtblonde at The Masque, Liverpool Music Week 2009 (c) Too Funky

After The Sand Band had the pull out, the organisers moved Dirtblonde up on the bill, as the main support act for the Bombay Bicycle Club boys.

The venue was packed and, perhaps unsurprisingly, nothing could prepare the audience  for the “Dirtblonde experience”!

photos (c) Too Funky

First song, a new one called White Horses, seemed to leave the audience speechless. Literally – as soon as the song ended, after a barrage of guitars and weird tape echo oscillations, we were met with stunned silence.

Well, what can we do? It’s fashionable to say you are influenced by Jesus And Mary Chain or dance to Sonic Youth’s Kool Thing, or wear a Ramones t-shirt you bought from Topshop…but as soon as a band actually sounds as raw, loud and fucked-up as those bands did at their best, people are just not used to it!

(c) Too Funky

Not to say Dirtblonde’s set didn’t go down well – it went down pretty well…and as usual the band split the audience: a few “boos”, some cheers, some excited teen girls, photographers tapping along to our songs…the whole lot!

“That’s how it works – if you like us, you clap. If you don’t like us – fuck off.”

Some shitty little bands the NME likes are there to entertain the indie audiences…we are here to give you an experience. Like it or not.

Check more pics from The Masque gig at Too Funk’s Dirtblonde set (thanks!)

Ah! We also just found a cool pic of Ivan almost hitting the photographer with his Epiphone Wilshire…check it out!

Dirtblonde Setlist @ The Masque:

• White Horses
• Brooklyn
• The Hangmen
• Superfan
• His Name
• Pretty

If you missed Dirtblonde @ The Masque, check our next gig for Liverpoool Music Week, at MOJO, on Tuesday 10th November – FREE ENTRY!

Dirtblonde gig at MOJO for Liverpoool Music Week...come!

God gave me five hundred dollars to buy this guitar. PLEASE

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

Sale end 14 Sep 09. Call 3889 7499 for the current prices.

Arties Music Max
3/424 Gympie Rd, Strathpine, QLD 4500 Australia
07 3889 7499
artiesmusicmax@gmail.com
www.artiesstrathpine.com.au

I personally preferred the tone of the Valve Junior, however I’ve never heard the Valve Senior in person, only on this video. I still think it’s a very good deal, for this all tube 20w combo, loud enough to to small gigs with. A good amp for the price?
Discuss.

We came across this cool 2008 photo of the Legendary Kris Kristofferson with his Masterbilt DR-500P the other day. This is the only Masterbilt that has a Maple body and it sounds great! Good choice Kris! CLICK HERE to check it out.

This is the guitar that i haven’t bother doing anything to – except of course playing, changing the strings and polishing.

I grabbed this earlier this year from Russo’s Music Center in Hamilton, New Jersey. They came in more than $100 cheaper than any of the big box music stores or any online price I could find. I’ve been going to this store for over 20 years and they still are one of the best local music shops around this area.

I’ve been working on an audio demo of the Emperor Swingster this afternoon. These pickups are smokin’ hot and the combinations of series and parallel settings give you a wide variety of tones. I think you will be impressed. Look for a Swingster feature (with audio demo) on www.epiphone.com soon!

Politics is ugly, and can be a bit much for even people like me who follow it regularly.  Blogging about politics can also be a bit much, and sometimes one needs a break.  Like I promised when I started this blog a few weeks ago, it wouldn’t be all political ramblings or commentary.  And so I’d like to begin a series of posts; a confessional, if you will; about music.

Far more than politics, music has greatly influenced my life.  As I mentioned in my introductory post, after years of struggling, I almost made a career for myself in music.  I was the original bass player in a band that will soon be famous.  Maybe I”ll reveal who it is when they finally hit the mainstream and are on TV, the radio and wherever else bands go now that the Internet has ruined the music business.  Or maybe I won’t.  But one thing I can safely say is that my time almost making it in the music business was fun, bitter, dream-like, nightmarish, exhilarating, depressing, but ultimately unsatisfying, mainly because I feel like I left a lot of unfinished business.

“What?!” you may be thinking,   “he’s a conservative–and a Christian, no less!– and was in a rock band?!  Get out of here!”  But it’s true.  I was, and still am, a musician, though I feel, now that I’m in my late twenties that I can put music into perspective better now than I could then.  My story is pretty interesting, often funny, and I feel that now is a  good time to share it.  It’ll make for some good blog posts, and spark some discussion.  After all, isn’t that what being a writer–and a blogger, especially–is all about?

So why write (right?) now?  Good question.  Yes, I am still a little bitter about the whole situation–especially considering that former good friends decided to scrub me out of the band’s history and have cut me out of their life, though I bear some of the blame for that (but can you blame me?  They tried to screw me out of my equipment!)–and who wouldn’t be?  The rug was unceremoniously and, in my opinion, unfairly pulled out from under me right when the breaks finally started going our way, breaks I was, in large part, responsible for.  But this isn’t necessarily be about therapy.  While it will be somewhat cathartic to write about these experiences, mainly I think that it will be fun to write about something other than politics.  But first, some background information is in order.

I remember the exact moment when I decided I wanted to be a rock musician.  And yes, befitting the true nature of rock n’ roll, it’s a thoroughly stupid moment.  I was ten or eleven years old, hanging out in the basement of the house I grew up in, watching an episode of The Wonder Years where Kevin Arnold befriends a hippie-ish guitar playing kid at his school, and joins his band.  It was called The Electric Shoes, or something stupidly era-appropriate like that.  I got a vicarious rush out of watching Fred Savage playing Kevin Arnold belting out power chords and exulting in the sheer power of rock n’ roll.  That’s three layers of vicarious living, for anyone keeping score.

The second big moment was my tenth or eleventh birthday, when my godfather–a die-hard Beatles fan–made me tape copies of their entire catalog.  I must have listened to those tapes daily for the next five years, before I was finally able to buy my own copies on CD.  For a few years there, I wanted to be George Harrison, still my favorite Beatle.

The third big moment made me really want to play the bass.  I was in the fifth grade watching MTV with my brother, back when MTV showed music videos.  We saw a live clip of Primus playing “My Name Is Mud.”  The sounds Les Claypool got out of his bass, and the way he mangled it, made me fall in love with what is, let’s face it, the lamest of all rock instruments.  That might say something about me.  But one doesn’t play the bass to get famous, and I dare anyone to argue otherwise.

Finally, the fourth big moment was when my dad started replacing much of his vinyl with CDs back in the mid-90s, when record companies finally got around to remastering and re-releasing some of their classics.  The albums he brought home from Circuit City that fateful night were Live Cream Vol. I and Vol. II by Cream, and Live at Leeds by The Who.  Cream’s “N.S.U.” and The Who’s “Heaven and Hell” absolutely blew me away.  Listening to Jack Bruce and John Entwistle, respectively, was a light bulb moment if there ever was one.  ”Aha!” I thought while I listened to their fantastic bass playing.  ”That’s what I want to play!”

And so, I can safely say that Paul McCartney, Les Claypool, Jack Bruce, John Entwistle, and . . . uh . . . Fred Savage/Kevin Arnold made me want to be a rock n’ roll bass player.

Now, I have a love-hate relationship with rock n’ roll.  I agree with Pete Townshend that it is very, very important and very, very ridiculous.  I mean, most of it is poorly written and performed, violent, anti-social, drug-fueled, and misogynistic.  And that’s just the good stuff!

Wait.  I meant, most of it is poorly written and performed, violent, anti-social, drug-fueled, and misogynistic.  And that’s just The Rolling Stones!

Argh.  Let’s try this again.  It is poorly written and performed, violent, anti-social, drug-fueled, and misogynistic, but I like it anyway.  There is something primally satisfying about the loudness, the drums, the screaming, the anger . . . it’s enough to hook any teenager.  It is like a drug, or more accurately, a religion.  Rock and roll is the answer, and the musicians are its priests and apostles.  Who wouldn’t want to be an active participant in that religion?  I don’t quite buy Diana West’s argument that rock ‘n roll is the root of all that is evil in America today, but now that I’m an adult, I can better understand how messed up and, yes, stupid it all is.

So after a year trying to convince myself that I wanted to play the guitar by practicing on my mother’s old acoustic, I got a bass–a Beatle-bass copy–and a tiny Epiphone amplifier for my fourteenth birthday, and my love-hate relationship with rock n’ roll was in full swing.  Where it would take me, I had no idea, but from the first, I knew it was what I wanted to do for the rest of my life. Such are the dreams of youth.

-Mister Person

PS If anyone reading knows what band(s) I used to be in, please don’t say so here.  I’m not here to name names or passively-aggressively get back at anyone.  I just want to tell a story.  Thanks!

Epiphone Dot Cherry

Epiphone Dot Cherry, versi murah dari Gibson ES-335

Spec:

• Pickups: 2-Humbuckers
• Hardware: Chrome
• Scale: 24.75″
• Nut width: 1.68″
• Neck: Set, Mahogany
• FB inlay: Rosewood-Dot
• Binding: B
• Body Material: Laminated Maple
• Top: Laminated Maple
• Tailpiece: Stopbar

Love this guitar

Korina, terminalia superba, also known as limba or afara, is a West African hardwood tree, probably best known for its use by Gibson and Epiphone for guitars. In fact, Gibson’s “futuristic” Explorer and Flying-V were produced using korina wood before I was born. And that was a very long time ago. It was also just at about that time that Gibson bought out their most important rival, Epiphone, and began to turn that company into their budget brand.

Basically, the deal is that Epiphone manufacture most of the same designs as Gibson, but at a lower cost, with factories in cheaper locations. Originally, that meant Japan and Korea, but even they were priced out of the market, and almost all Epiphones are now made in Qingdao, China. Until yesterday, I had three Epiphone guitars (you can see where this is going, can’t you?), a Japanese acoustic from 1980, a Korean-made Explorer bass, and a Korean G-400.

I think the Explorer might be made from korina (yes, a browse of the Internet seems to confirm that) but you can’t tell because it’s finished in opaque black. The neck is mahogany. The two woods are supposed to have very similar physical characteristics, so I don’t know the thinking behind the use of both. It does make the instrument very unbalanced though — much too heavy at the head end — and with the strap studs in the standard positions it won’t sit naturally in a neutral position. I experimented by moving the studs to different locations, but the only solution which worked was to have the “rear” one slightly in front of the “front” one, with the strap crossed. Crazy, but adequate. I’ve actually only ever played one gig with it though, and I then discovered that it won’t stand up on its own by the side of the stage either.

The G-400 is Epiphone’s version of the early Gibson SG. It was only recently, when Les Paul died, and I read something of his history and the Gibson guitars that bore his name, that I found out that the SG was supposed to have been the 1961 Les Paul Special. It was designed to be a competitor to the Fender Stratocaster: thinner, lighter and more basic than the existing Les Paul, and with body cut away from the neck on both sides into devil’s horn points. It was already in production before they told Les though, and he didn’t like it; didn’t want his name associated with it; and it had to become the SG, simply for “Solid Guitar” apparently. (Very early ones still had “Les Paul” script on the head and truss rod cover though.)

My G-400 is a standard one, body and neck made from mahogany, in the traditional “Cherry Red”, actually a dark, translucent burgundy. With the same wood throughout, there are no balance problems, and it’s thin, light and very comfortable to play, the very distilled essence of the electric guitar. The standard of construction is very good too. As well as the Epiphone brand for budget instruments, Gibson also make their own lower-priced range, including an SG Special at about half the price of the standard SG. I had the opportunity to look at one in a music shop recently, and it was absolute trash: shoddy finish and construction. Far, far inferior to the Epiphone at half that price again.

OK, if you know me, you know the next bit. I bought another one. I really did mean to print out “You Do Not Need Another Guitar” across several sheets of paper and stick it to the wall above my computer. But, er, I forgot. So yesterday, I bought a complete bargain. I had been resisting for weeks, and then the seller dropped his price by £20 and I could hold out no longer. It’s another G-400, made in Korea in 2001, but this one isn’t mahogany: it’s a “Limited Edition” with a korina body and maple neck, both very pale woods, and finished in a light honey yellow, translucent gloss. The metal parts are gold-coloured, although clearly not gold, because they’re slightly tarnished, something that other owners report on the Internet. Probably a “learning point” for the company: give them a thicker plating next time. Maybe they’ll polish up.

But I’m very pleased with my purchase. I Do Not Need Another Guitar, but I like it. It’s lovely.

We’d like to thank all of you who came at the Music Show 2009 at the RDS last week end, we’ve had great fun and we hope you’ve enjoyed testing all the  guitars, keyboards, drum kits and all the rest.

Here are some pictures from the show taken By Hot Press.

Stay tuned for more…

Here’s something cool for the vintage freak in all of us. Today I had this beauty in the studio for some detail photography. It’s a 1964 Coronet on loan from our friends at Chicago Music Exchange in the rare “Silver Fox” finish.

A white grain filler was used and then covered in a “green-ish” clear back in ‘64 to get this desired effect… and is quite difficult to reproduce today. But we have the guy who can do it! (hint, hint)

After Gibson’s extremely embarrassing disaster with the Hendrix-cheapo-trash (see below), it’s affiliate Epiphone is showing the way with this:

Yes folks, this is indeed a reissue of Epiphone’s extremely cool 1966 Wilshire/Coronet -model.

If the US retail price is anything to go by, this Made-in-China-guitar is going to cost somewhere around 450 €. Groovy, baby…

Feast your eyes on this:

Während ich darauf warte, dass die gegenwärtige Hektik abflaut – und mein rauher Hals mir endlich die Gelegenheit gibt, die neue Version von Forgotten and Forlorn zu singen – erstmal als Schmankerl Bin Ohne Dich aus dem Jahr 2002.

Der super-duper Text ist von Frank Badenius (danke, mal wieder!).

Bin Ohne Dich – 2009 Remaster