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MIJ Thinline Jaguars are a great example - most shops cleared the last of these very slowly when they were new maybe 10 years ago. They're closer to 2k on the used market now.
Some of the stuff identified as potential future classics in the thread are already 35+ years old - and some of those I reckon are already thought of in that way
My first thoughts were trying to define what would make something a classic - some fo these maybe for example?:
Stuff that came to mind for me (across that whole period above) - some might already be considered classics by some of the enthusiast groups:
- 80s USA Steinbergers
- 90's Parker Fly
- 90's Vigier guitars
- Teuful Birdfish (that was a great shout earlier)
- Valley Arts USA guitars pre 1990
- Strandbergs
- Early Music Man Silhouettes, Luke
- Early Tom Anderson guitars
- 70s and early 80s USA BC Rich guitars
- 80s and early 80s Dean guitars
- Older Brian Moore guitar
- Sid Poole LPs
- Pre 1990s PRSs
- 80s USA Jackson Soloists
- Collings
- Early Knaggs guitars - just after Joes exit from PRS
- Maybe the 80's Fender signature guitars?
- First run Eric Johnson Stratocaster
And of course some Hamers - 70s 4 digit Standards have been attracting attention and perhaps some of the unusual models - like the Virtuoso (28ish ever made) and the Improv - which is an insanely high end jazz guitar which no one has ever heard of!Thinking about Gibson and Fender these days, I think they are just churning out so much volume its hard for someone like me to see the wood for the trees with what they are making, and I'm not interested enough in the stuff they are making these days to put the time in to learn about them - I don't feel I'm missing out...
Actually, maybe I'm just listing guitars that I like!
At the moment I'm looking for:
* Hamer Watson, SS2, Vintage S, T62.
* Music Man Luke 1, Luke II
Please drop me a message.
Jon
My trading feedback: https://www.thefretboard.co.uk/discussion/210335/yorkie
Jon
My trading feedback: https://www.thefretboard.co.uk/discussion/210335/yorkie
As someone stated earlier, there was a time when you couldn’t give battered old Jags, JMs and Teles, etc away. The same went for my own faves, early Roland GR-series stuff (GR-100, 300, 500 and 700, with all associated controllers) - they were literally peanuts, whereas nowadays, people try and charge as much as £2K(!?!) for a GR-700/G-707 (even with dead or dying 80017A voice chips).
HarrySeven - Intangible Asset Appraiser & Wrecker of Civilisation. Searching for weird guitars - so you don't have to.
Forum feedback thread. | G&B interview #1 & #2 | https://www.instagram.com/_harry_seven_/
Recall trends like used JMP Marshalls, AC30's were hard to sell as they were all been traded in against HH IC100's etc - This was mid/late 70's - It got to the point we didn't want any more such old valve amps on a trade in and could not get enough new HH Amps - Ditto WEM Copycats traded in against analog delays - We had to stop trading them in as no one wanted old Copycats anymore - Used Les Paul's in the early 80's were hard to sell - Superstrats was all the thing, along with electro pop etc so synths sold left/right/centre
Now it is almost a case that anything can sell, somewhere, via the likes of e-bay/reverb - A little shop in Cornwall can now have access to a UK national or EU global market - Touch less so now in the EU thanks to vat on used gear following Brexit
One day, some new hot shot will play a Jap Charvel, or USA Kramer from that 80's era and they will be the thing again and prices will rise - We might even find a new Ed Sheeran playing a USA Ovation bowl back and watch for the demand
My trading feedback: https://www.thefretboard.co.uk/discussion/210335/yorkie
Ibanez JEM
Ibanez Universe (I think that's what it's called: Steve Vai's original 7-string), based on rarity
Blackmachine B2 and/or B6
I actually think the opposite is true - there are so many Gibsons and Fenders, and especially Fenders in near-infinite variations, that the world will have lost interest in another 20 years.
I’d definitely pick something more metal-oriented as a future classic - because that’s probably the genre which will keep using guitars, which aren’t just re-hashed old ones.
(Edit - or what Bennyboy-UK said, if I’d read the whole thread before posting!)
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
PRS’s limited runs like the McCarty 594 hollow, or 35th anniversaries will hold value well.
In terms of Uk made, I think of all the brands Patrick James Eggle will hold value and be future classics, especially when he retires. The Berlins still sell well from the early 90’s.
Pedal wise, any limited runs. Klons will only get more valuable, especially when Bill retires and stops the KTR’s. Some of the walrus/earthquaker collectible artwork ones too. Aslong as limited enough. I know i’m a sucker for them and collect pedals for fun/art as much as I do playability.
Amp wise, I think we’re only a generation away from loosing tubes, I’d guess 80% if not more of amp techs are 50 & above, if not 60 & above, which will wipe so much skilled labour out in 30-40 years as don’t seem to be as many others learning. If governments bring in strict energy appliance rules that could stop new tube amps being built, or the remaining tube factories going bust. So limited edition tube amps in 30–40 years could be very sought after. Especially the hand wired/easier to repair ones.