Waaronder als lead-gitarist van Rockformatie Voodoo waarbij hij als hoogtepunt mocht spelen in het voorprogramma van de Golden Earring tijdens het Oerrockfestival te Ureterp op 20 mei 2005.
Mijn muzikale gereedschapskist:
Als allround gitarist in onze rock coverband moet ik schakelen tussen verschillende stijlen, van rockriffs tot ballads. Iedere stijl vraagt om een specifiek instrument (gereedschap). Het is als een beitel voor een beeldhouwer of een penseel voor een schilder.
Vanwaar deze passie? Elke gitaar heeft zijn eigen karakter. Ze zijn voor mij dan ook niet alleen tools, maar kunstwerken die mij blijven inspireren. De houtsoorten, de leeftijd en het gebruik van de gitaren beïnvloeden hun klank en geschiedenis, wat ik fascinerend vind.
Stiekem probeer ik mijn (te grote) collectie natuurlijk een beetje goed te praten. 🤫😜
Het hiermee op deze wijze online bijhouden, inclusief specificaties en serienummers doe ik deels uit praktische overwegingen, zoals voor verzekeringen, maar ook om alles overzichtelijk te houden. Zo kan ik de geschiedenis en details van mijn gitaren gemakkelijk delen met anderen (gitaristen praten immers graag onderling over hun gear).
Benieuwd naar de verhalen achter mijn gear? Neem gerust een kijkje bij de foto’s en verhalen hieronder en ontdek mijn gitaren (van oud naar nieuw)” 🎸
The LG-2 is a compact, vintage acoustic guitar renowned for its warm tone and timeless design. With a solid spruce top and mahogany back and sides, it delivers a rich, balanced sound that suits both fingerpicking and strumming. Despite its smaller, parlor-style body, the LG-2 offers a surprisingly full and resonant voice. Introduced in the post-war era, it quickly became a trusted, affordable workhorse for folk and blues musicians and is now a highly prized collector’s instrument, one of Gibson’s true acoustic icons.
I purchased this guitar in February 2022 at The Fellowship of Acoustics. After the purchase, Rowdy Prins (Hannah Mae, Floor Jansen, Mooi Wark, Suzan & Freek) recognized it immediately and shared that it had previously belonged to his colleague Milo. He recalled playing it himself during a short tour the year before and described it simply as “an unbelievably good guitar.”
Gibson Les Paul Junior Sunburst (early 1955) & GA5 Amp 1955 Set #5 9625
A rare early 1955 Les Paul Junior, paired with its equally special GA5 “Les Paul Junior” amplifier, both from the very first years of production. A beautifully aged, player-focused vintage set with subtle period-correct updates, combining raw tone, history, and character.
Dive into the details to discover what makes this early example, and especially the amplifier, so unique.
This very guitar has been played by Joey Landreth, guitarist and frontman of the acclaimed Canadian roots band The Bros. Landreth.
Click here for more information…
A vintage guitar like a 1955 Les Paul Junior is special enough on its own, but paired with an amplifier of the same name from the same year, it simply doesn’t get any better.
Introduced in 1954, the Gibson Les Paul Junior was designed as a straightforward, no-frills instrument. With its single P90 pickup, slab mahogany body, and simple controls, it delivered a raw, direct tone that would go on to define generations of rock and blues players. This particular guitar is an early 1955 example, identifiable by its speed knobs, used before Gibson later transitioned to the more familiar “bonnet”/ “top hat” knobs.
The serial number format “5 9625,” with its early-1955 spacing, later in 1955 this spacing was no longer used, combined with features such as the speed knobs, places this guitar firmly in the first production period of that year, making it a true early and “first wave” Les Paul Junior from Gibson’s golden era.
Like many early ’54 and ’55 Juniors, this guitar originally featured relatively short bridge studs, set less deeply into the body. Over time, the forward pull of the strings could cause these to lean slightly, resulting in the well-known “leaning bridge” phenomenon. According to The Fellowship of Acoustics (TFOA), this has been addressed—most likely by improving how the studs are anchored in the body to restore stability.
The guitar has been carefully maintained and updated with playability in mind. It has been refretted with wider frets, fitted with a new nut, and is now equipped with period-correct tuners. The bridge has been replaced with a compensated wraparound. This is a common and sensible upgrade, as the original 1950s design assumed a wound G-string, whereas modern string sets use a plain G, requiring different compensation for accurate intonation.
Cosmetically, the guitar shows authentic playwear: finish checking, small dings, and the kind of natural aging that reflects decades of use without compromising its character.
Gibson GA5 Les Paul Junior Amp
The matching Gibson GA5 Les Paul Junior amplifier is an equally compelling piece of history. Produced between 1954 and 1957, this small tube amplifier was originally marketed as a student model, yet it shares its roots with the iconic Fender Champ circuits of the same era.
The speaker code “285523” identifies a Rola speaker produced in week 23 of 1955, perfectly aligning with the amplifier’s production period and strongly suggesting it is the original factory-installed speaker.
The amplifier still retains period-correct American tubes, including an RCA 6SJ7 preamp tube and a Sylvania 5Y3 rectifier, both consistent with the components used by Gibson in the mid-1950s. The 5Y3 rectifier contributes to the amp’s characteristic compression and responsiveness, adding to its warm and dynamic vintage feel.
What makes this particular amplifier stand out is that it comes from the earliest 1954–1955 production period, before Gibson renamed the model to the Skylark. In these first years, the amp still carried the “Les Paul Junior” branding, directly linking it to the guitar—a feature that was soon dropped as Gibson moved to a more standardized naming scheme.
These early versions also feature the original 6SJ7-based circuit, known for its raw, unfiltered character and lively response. Compared to later versions, which adopted a 12AX7 preamp and a slightly more refined tone, these early amps are often considered more direct, expressive, and closer in spirit to the earliest rock ’n’ roll sounds.
Although total production numbers exceeded 10,000 units, most were built in the later years after these design changes. Early examples like this—especially those retaining the original Les Paul Junior branding—are significantly rarer. Combined with the fact that these amps were often heavily used and not always preserved, surviving early models have become increasingly desirable among collectors and players alike.
Despite its modest 5-watt output and single volume control, the GA5 delivers a remarkably rich and dynamic tone, with natural tube breakup that makes it exceptionally well-suited for studio use. Much like the guitar it accompanies, it proves that simplicity, when done right, can be incredibly powerful.
Together, this guitar and amplifier form a rare and historically significant pairing—an honest, characterful vintage set that continues to inspire more than 70 years after it was built.
Played by Joey Landreth:
The JUNO and Grammy-winning Landreth brothers have earned an international reputation for their soulful songwriting, vocal harmonies and exceptional musicianship. The band has appeared on prestigious stages including Eric Clapton’s Crossroads Guitar Festival.
Joey in particular is regarded as one of the most distinctive contemporary slide and roots guitarists, celebrated for his extraordinary touch, dynamics and highly personal approach to open tunings.
Seeing and hearing Joey play this early 1955 Les Paul Junior makes for a special piece of its documented history.
Gibson Les Paul Junior DC Cherry (early 1958) #7068
Sometimes you come across a guitar that you instantly connect with. For me, that guitar is this beautiful and 100% original Gibson Les Paul Junior DC 1958.
This particular Junior comes from a very early batch in 1958, which makes it even more special. The first guitars from that year feature a 4-digit inked serial number (without the “8”) and a slab mahogany body with slightly sharper edges than later versions. It’s exactly these small details that give this instrument its unique character.
What truly sets this guitar apart is its originality—it remains exactly as it left the Kalamazoo factory back in 1958. The finish still has its strong, vibrant cherry red color, and the frets are original and in good condition. All key components are untouched: the pickup, pots, Bumblebee capacitor, and plastics are all original. There are no cracks or repairs, and even the solder joints are still untouched.
Click here for more info
1958 was the very first year Gibson Les Paul Junior Double Cutaway was introduced, making this guitar part of the very beginning of an iconic design.
This example comes from that earliest period, confirmed by the rare 4-digit inked serial number and the sharp-edged slab mahogany body typical of the first batches. These early ’58s are widely regarded as the most collectible and desirable.
To me, this is what sets it apart. You’re not just looking at a great vintage guitar, you’re looking at the starting point of a legend. Finding one this early, this original, and in this condition is exceptionally rare.
I personally love how the grain comes through the finish. It’s simply the natural mahogany revealing itself, and on an early ’58 like this, it adds a beautiful sense of character and authenticity, making each example entirely unique.
Of course, what really matters is how it sounds—and this guitar absolutely delivers. The tone is open, full, and has a fantastic bite. It offers plenty of sustain and is surprisingly versatile. By working the volume and tone controls and adjusting your picking attack, you can get a wide range of sounds, from raw and aggressive to warm and smooth.
The neck is exactly what you’d expect from a great ’50s Gibson: a substantial C-shape that feels solid and comfortable in the hand. It measures 22.1 mm (.87”) at the 1st fret and 25.4 mm (1.00”) at the 12th fret, with a nut width of 43 mm (1 11/16”).
The guitar comes with its original alligator (crocodile) case and the original hang tags, completing the package.
I purchased this guitar from Aron at Ronnie’s Guitars. He had acquired it from GuitarHunter in Denmark (you can see the original listing here:
Aron is a great guy, very knowledgeable, incredibly welcoming, and clearly passionate about guitars. Picking up the guitar was just as enjoyable as buying it. We spent quite some time talking about guitars over a beer, which made the whole experience even more memorable, exactly how it should be!
Gibson Les Paul Junior Singlecut Tobacco (1958) #8 1616
An original vintage 1958 LP Junior Singlecut in excellent shape with original parts, finish and case. The only change is newer frets and nut. Includes the original crocodile paper case. Purchased from RJV guitars (on Christmas Eve, December 24, 2024), who had recently acquired it from Carter Vintage Guitars in Nashville.
Check this video (new arrivals/ short), this one video (where it’s played) and also this video (guitar safari Amsterdam) from RJV guitars for the actual guitar! Or check out this amazing video of an identical guitar from the same year (’58) in a music store (Guitar Sauce) in Italy. What an amazing solo and what a sound! I considered buying it in my search for this guitar, but the one from RJV was really super clean and played fantastically. I haven’t been able to find a cleaner one from this year yet! #8 1616
The LP Junior is my absolute favorite guitar, and not just mine, check this; not exactly the same one, but two years younger: (video).
Astro 1950s archtop jazz guitar with handwound P90
Restored and modified Astro archtop, made in the late 1950s in Germany at the Strohmer Luthery in Nuremberg.
This is a beautiful and rare Archtop model made under the Astro brand by Georg and Hans Strohmer. Their father, August Strohmer, founded the brand in 1906 together with Max Zimmer, another well-known name in the German instrument world. The Strohmer family built all kinds of stringed instruments, and in the 1950s, after August passed the company on to his sons, they began producing high-quality archtops as well.
Astro guitars are often considered a hidden gem among vintage enthusiasts: their craftsmanship is outstanding, yet they remain relatively unknown because the workshop was quite small. Given the design and build quality of this particular model, it might very well have been crafted by August Strohmer himself, making it not only a fine instrument but also a valuable piece of German lutherie history.
The neck is straight and it plays fantastic with a low action. Also it comes with new frets and a new handwound P90, wound by Guitar Harbor Vintage Guitars. What craftsmanship! Special thanks to Arne Fröhling, the luthier who restored this beauty (Check out his video, where he plays it).
Specs: Body depth; 7 cm Nut width: 43,7 mm Action low E string at 12th fret: 2 mm (0.10 D´Addario strings) Weight: 2,38 kg Scale: 620 mm Body width: 41 cm (about 16 inch)
Fender Stratocaster (Refin) Olympic White (1963/64) #L24740
The real deal: Pre-CBS, spagetthi logo, “L” series, ‘clay’ dots and the mint green pickguard.
The guitar is referred to as a ‘1963/64’ Fender Stratocaster because its components include features from both years. This is common with vintage guitars, as Fender produced and used parts in batches during this period. Here’s why the exact year cannot be tied to either 1963 or 1964:
This guitar represents a fascinating transitional period at Fender, featuring a late-1963 dated neck paired with a correct same-year body, while the pickups and most pots date from early 1964, indicating that the guitar likely left the factory in early 1964. One pot dates to 1965 and was most likely replaced during its lifetime. The instrument remains remarkably original and has been carefully preserved over the decades. It features a professional refret and refinished body, while retaining its authentic character and originality throughout. A 5-way switch is currently installed for added versatility, and the original 3-way switch is still included. Altogether, this is a beautiful and highly authentic pre-CBS Fender Stratocaster example from Fender’s golden era.
Click here for more information
Neck Date: November 1963 The neck is stamped with “November 1963” as its production date, indicating that it was manufactured late in 1963.
Pickups and Pots: 1964 and 1965 The pickups are original, with readings of 5.5k, 5.7k, and 5.8k, and they date to 1964. Two of the pots are dated 1964, while one pot is from 1965. This suggests either a later replacement or that Fender used newer stock parts during assembly.
5-Way Selector Switch The guitar originally came with a 3-way selector switch, typical for Fender Stratocasters of this era, allowing players to select individual pickups. A 5-way switch has been installed for greater tonal versatility, but the original 3-way switch is included.
Pre-CBS Features The guitar has all the hallmark features of a pre-CBS Stratocaster. These include a spaghetti logo on the headstock, an L-series serial number, clay dot inlays on the fretboard, and a celluloid mint green pickguard from the early 1960s, which is in excellent condition with no cracks.
Body and Refinish The body has the correct 1963 hole pattern and routing. The Olympic White finish is a high-quality refinish performed many years ago. The finish shows minor crazing and aging, which adds to its vintage character.
Hardware All original hardware is present. This includes the ashtray bridge cover, tremolo arm, and “Pat. Pend” saddles — indicating that the patent had been applied for but not yet officially granted at the time — as well as the Kluson tuners and original single string tree. On a vintage Fender Stratocaster, these saddles are particularly important for originality and collector value. The correct shielding plate is present under the pickguard.
Playability and Sound The guitar has been refretted, improving its playability while preserving its vintage feel. It plays beautifully and delivers the classic Stratocaster tone, rich in character and clarity.
Fender Telecaster (1968) #235937
Finished in the iconic Blonde finish, this exceptionally clean 1968 Telecaster has retained its beautiful white-blonde appearance without the heavy yellowing often seen on late-’60s examples. Featuring the highly desirable maple cap neck, it offers both stunning aesthetics and the unmistakable bright, articulate Tele tone that made these guitars legendary.
The neck has a comfortable, nicely rounded profile, measuring 21.7 mm at the 1st fret, 22.1 mm at the 5th fret, and 23.8 mm at the 12th fret, with a nut width of 40.7 mm. Weight is 3750g.
The guitar remains largely original, with only a professional refret and a replaced 3-way switch for improved reliability. Both pickups are original grey-bottom units, with the bridge pickup carrying the original pencil date (3/18/68). Output readings are 6.45 kΩ for the neck pickup and 5.83 kΩ for the bridge pickup, delivering warm, rich neck tones and the classic sharp, punchy Telecaster bite from the bridge.
Additional originality details include:
Neck date: 3MAY68B
Pot codes: 304.66.12
This remarkable instrument comes complete with its original case and represents a fantastic example from the early CBS era, combining vintage appeal, exceptional playability, historical significance, and unmistakable Telecaster character. The bridge pickup alone is worth its weight in gold. #Responsive #Dynamic 👌
Gibson ES-335 SunburstTD-12 (1968) #905116 This rare semi-hollow 12-string was acquired from Belgium and, as far as known, remains remarkably original. The only known change is the replacement of one of the original nylon saddles, a small detail on an instrument that has been making music for nearly 60 years.
ES: Electric Spanisch TD: T = Thinline and D = Double pickup
The ES-335 TD-12 was produced in far smaller numbers than the standard ES-335 models, making surviving examples increasingly rare today. Its combination of Gibson’s legendary semi-hollow construction and shimmering 12-string sound delivers the unmistakable character heard on countless late-1960s recordings. With its beautifully aged Sunburst finish, classic double-cutaway design, and rich, resonant tone, this guitar is more than just an instrument, it is a genuine piece of music history. It’s just like this one: video
Provenance The previous owner, Wim, purchased the guitar in 1989 from a music shop in Cologne (Keulen), Germany. At the time, several well-known music stores operated there before later becoming part of what is now known as Musikhaus.
Interestingly, Wim initially passed on the guitar twice. After each visit home, however, he regretted leaving it behind. On his third trip back to Cologne, he finally decided he could not let it go, and purchased it. What began as the hesitation of a beginning collector turned into a guitar he would keep and care for over decades.
Born in 1958, Wim has gradually started downsizing his collection, while still reserving a number of instruments for his five grandchildren. This ES-335 TD-12 now continues its journey with me as its next custodian, carrying with it not only its musical heritage, but also part of a personal collecting story spanning generations.
Gibson ES335 TD Sunburst (1968) #948540
The ES-335 is the ultimate choice for those seeking the unmistakable sound of Gibson’s legendary semi-hollow body design. Its light weight, powerful humbuckers, and slim neck have made this guitar a staple in the arsenals of countless musicians. Acoustically, it delivers the characteristic warmth that made the ES-335 so famous, while the pickups add extra punch and complexity. Thanks to the laminated maple body and the solid center block, this guitar is particularly resistant to feedback, making it a reliable companion on stage. The combination of a Cherry Red finish with cream binding gives it a timeless appearance, allowing this Gibson to shine in any musical setting. From rock to blues and everything in between, the ES-335 has proven itself on every front. This guitar still has its original Patent No. pickups, and it also retains the original untouched electronics, including CTS potentiometers from 1967. The original Kluson Double Ring tuners have been replaced with more modern Gibson Deluxe Single Ring tuners, and the bridge has also been replaced (but I still also have the original). In addition, the guitar has had a refret and the nut has been replaced as well. Alongside the original tailpiece, the original pickguard with a faded Gibson logo is also included. This logo was only applied to the pickguard in 1968 and early 1969. This 1968 Gibson ES-335 sounds fantastic and feels great to play. The original finish, with its light playwear and mojo, also has exactly the right look. It is a true vintage instrument with the perfect balance of playability, tone, and character. And it has the original Gibson hardshell case.
Original: Video Not exactly the same, but seriously (!) these look like this one: video1 or video2
Gibson Les Paul Goldtop (1969) with 68 specs! #533206
A rare transitional 1969 Gibson Les Paul Goldtop with highly sought-after ’68 features, including a one-piece body, one-piece neck without volute, small headstock, and long neck tenon. Fully original with untouched electronics, original P-90 pickups, and beautiful natural “greening” shining through the aged Goldtop finish. A remarkable vintage Les Paul that perfectly captures the spirit of the late-’50s classics.
Read more about this exceptional guitar below (click ‘more info’. And check this video @TFOA (where it’s played by Leif de Leeuw). Leif has been named the best blues rock guitarist in the Benelux nine times in a row!
And here is also a video of Phil X (currently the guitarist for Bon Jovi) playing a very similar guitar. It may not be the exact same instrument, but they could easily be sisters, even the pots carry the same stamp: “137 6850” (CTS, last week of December 1968).
More info:
My pride and joy: a rare 1969 Gibson Les Paul Goldtop with true ’68 features
Some guitars are special. Others tell a story. My 1969 Gibson Les Paul Goldtop does both.
On paper, this is a 1969 Les Paul Goldtop, but anyone familiar with vintage Gibsons immediately recognizes that this guitar is something truly special. This Goldtop features a number of extremely rare early characteristics normally found only on the very first 1968 Les Paul reissues. It comes from a unique transition period in Gibson history — a moment when the factory was officially producing 1969 models, while still building many guitars according to the highly sought-after ’68 specifications.
And that is exactly what makes this guitar so remarkable.
This Goldtop features a one-piece mahogany body and a one-piece mahogany neck without a volute — just like the classic late-1950s Les Pauls. Later in 1969, Gibson introduced pancake bodies, larger headstocks, and necks with volutes, but this guitar still remained faithful to the earlier construction style.
The small headstock and long neck tenon further confirm that this is a very early and highly desirable example. Especially the long tenon — where the neck extends deeply underneath the neck pickup — is considered by collectors and players to be one of the key ingredients behind the sustain, resonance, and character that made vintage Les Pauls legendary.
The electronics are completely original and untouched, featuring four CTS pots stamped “137.68.50,” indicating that these components were manufactured in the 50th week of 1968. This perfectly confirms that the guitar was built during that fascinating transition period between 1968 and 1969.
The guitar is also equipped with its original P-90 pickups, delivering the raw, open, and dynamic vintage tone that early Goldtops are famous for. From warm blues tones to aggressive rock riffs, this guitar breathes character with every note.
Even the Gibson logo tells a story. The early “no dotted i” logo with the open “b” and “o” is a detail that immediately excites vintage enthusiasts. Small details perhaps, but these are exactly the kinds of features that make guitars like this so loved among collectors.
What makes this Goldtop even more beautiful is the way the finish has aged over the decades. In several areas, the characteristic green hue is beginning to subtly emerge through the original Goldtop finish — a stunning effect caused by the natural aging of the bronze powder used in the nitrocellulose lacquer. This so-called “greening” is something vintage enthusiasts absolutely love, because it instantly reveals that you are looking at a genuine old Gibson with decades of history and life built into it.
That worn gold-green glow not only gives the guitar a unique appearance, but also reflects more than half a century of music, time, and character. This is not an artificial relic finish, but pure and authentic vintage aging that simply cannot be replicated.
What makes this Goldtop so special to me is that it feels like a bridge between two eras: the magic of the original late-1950s Les Pauls and their first reintroduction in the late 1960s. This is not just another ’69 Les Paul — this is a rare early example with the soul and specifications of a ’68.
A guitar with history. A guitar with character. And above all: a guitar I am incredibly proud to own.
Gibson Les Paul Standard Tobacco Sunburst (1976) #00234044
A beautifully aged 1976 Gibson Les Paul Standard in classic Tobacco Sunburst finish, carrying all the character and vibe that define mid-’70s Les Pauls. With its rich vintage appearance, powerful tone, and decades of musical history, this guitar has unmistakable presence both visually and sonically.
Over the years, two modifications were made to the instrument. The body was professionally routed at some point to accommodate P-90 sized humbucking pickups, although the guitar has since been returned to its original pickup configuration. In addition, the original bridge was replaced with a Bigsby vibrato system, adding a unique aesthetic and expressive playing feel. Fortunately, the original bridge is still included with the guitar.
A true player’s vintage Les Paul with personality, history, and unmistakable 1970s Gibson mojo.
Gibson Les Paul Custom Black Beauty (1980) #80240509
Except for the necessary refret (at TFOA), completely original.
The Gibson Les Paul Custom Black Beauty from 1980, produced during the Norlin Era (1970–1985), is a distinguished model in Gibson’s lineup. This period was marked by significant changes in guitar construction and design. Notably, the solid mahogany body was replaced with a multi-piece mahogany body featuring a maple top, a construction method sometimes referred to as “pancake” body.
I had the refret (done with Jescar 47104 wire) done by Luther Harry Fulher at TFOA in March 2022. A refret between the bindings — beautifully executed! When I came to pick it up, they told me it had received a big round of applause from his colleagues for the fantastic job. It’s been my go-to guitar for live performances ever since.
For a closer look at another example of this same model from the same year, the following video might be informative: YouTube
Gibson Les Paul Heritage 80 Elite (1982) #82082569
The Gibson Les Paul Heritage 80 Elite (1982) is a superb instrument inspired by the legendary 1959 Les Paul. Built during Gibson’s early reissue era, it was designed to capture the look, feel, and tone of the original ’59—while retaining a character of its own.
It features a solid mahogany body with a striking quilted maple top in warm Honeyburst. The ebony fretboard adds clarity and attack, while the original Tim Shaw–designed humbuckers deliver a rich, open, vintage tone reminiscent of classic late-’50s PAF pickups. The result is a highly resonant, expressive, and musical guitar.
Provenance I purchased this guitar in February from the TOFA collection of Rowdy Prins, a respected Dutch guitarist known for his work with artists/ bands such as Hannah Mae, Floor Jansen, Mooi Wark, Suzan & Freek, Bouke & the Elvis Matters BandIsa Zwart, Henk Wijngaard and Melrose. The guitar belonged to a close friend of his, and earlier to the late Dirk Stelder. Dirk’s connection to the instrument lives on, most notably in a video from August 2015 in which this very guitar can be seen:
Knowing its journey, through passionate players and caretakers, makes this Les Paul more than just a great instrument. It’s a guitar with a living history, and that history resonates every time it’s played. 🎸
Gibson Les Paul BFG Mocca (2007) #003170381
I acquired this guitar in December 2020 from Madrid, Spain via Reverb.com, listed as a “Barely Finished Guitar.” It features a unique textured finish that feels like leather or reptile skin, giving it a distinctive look and feel.
Originally, the guitar came without a truss rod cover, but one has since been added for a cleaner appearance. The previously exposed zebra bridge pickup has been refined with a pickup cover (or a pickup replacement) and pickup ring, resulting in a more vintage-style look.
Electronically, the guitar has been modified in a very practical way. It originally featured two volume controls and one tone control. Now, both pickups are controlled by a single volume knob located in the bridge position, making on-the-fly adjustments far more convenient. One of the original knobs has been disabled and now serves purely as a dummy, preserving the guitar’s aesthetics.
The neck is wonderfully chunky and comfortable. The original kill switch remains intact. Tonally, the neck P90 delivers a smooth, warm, and rounded sound, complemented by a punchy bridge humbucker.
Gibson Melody Maker Special (2011) #127110674 Signed (on the back of the headstock) by John Hayes of Mother’s Finest Check: https://www.johnhayes.nl And John confirmed to me that he signed it when I met him during his Knight of the Guitar tour with Jan Akkerman (once named the best guitarist in the world by the readers of Guitar Player magazine) and Leendert Haaksma on December 23, 2018, at De Oosterpoort in Groningen. Guitarist John Hayes (currently residing in the Netherlands) has been involved with Mother’s Finest since 1990. Mother’s Finest scored several worldwide hits, including ‘Baby Love.’.
Gibson Les Paul CM FR EB LTD (2016)
#160056367 This Les Paul is lighter and thinner than the regular Les Paul, featuring a beautiful mahogany design with visible wood grain. The innovative Floyd Rose (FRX) tremolo system requires no routing, making the guitar exceptionally versatile. It also includes a thumb wheel that allows you to lock the tremolo, preventing it from returning, offering even more control over tuning. The ultra-hot 490R and 490T humbucker pickups deliver powerful, clear tones for various music styles. With its black finish and red details, it is a modern, refined guitar. This limited edition model is not only a technical masterpiece but also a valuable collector’s item.
Gibson Custom Shop Murphy Lab M2M 1956 Les Paul Standard British Racing Green Heavy Aged (2025) #6 5084
This Gibson Custom Shop ’56 Reissue captures the look, feel, and searing tone of an original 1956 Les Paul down to the finest details. A Les Paul Reissue from the Custom Shop isn’t just a tribute to the valuable vintage models, it’s a clone. It represents the culmination of decades of work by the expert Custom Shop team: a tireless quest to deliver accuracy and authenticity into the hands of fans.
1956 was the only full year the Les Paul model featured both the powerful P90 pickups and the adjustable ABR-1 bridge, a combination that gave the Les Paul a level of intonation and sustain like never before. The ABR-1 tune-o-matic bridge, stopbar tailpiece, P90s with cream-colored covers, and even the “Les Paul Model” decal on the headstock faithfully recreate the magic of a mid-50s Les Paul. Gibson’s M2M, or Made 2 Measure, program gives players the chance to create something unique, beyond the standard Custom Shop models. This special color was personally selected and commissioned by Coen Bults, owner of The Fellowship of Acoustics (TFOA), who shared with me the story of how he had this guitar custom built to his specifications. Instead of the traditional Goldtop finish that adorned the 1956 Les Pauls, Coen asked Gibson’s M2M to give this a British Racing Green finish.
Paired with the Murphy Lab relic treatment, this guitar exudes a well-played vintage vibe, and just looks incredibly cool! The Murphy Lab Heavy Aged finish, combined with aged hardware, simulates decades of intense playing wear, giving it the unique character, vibe, and feel of an original piece from the Gibson Golden Era.
Includes a case with certificate of authenticity. Video
Gear (main amps, effects, etc.):
Neural DSP Quad Cortex (main) rig: Built on a Temple Audio Solo 18 board and powered by a Cioks DC7. The setup includes a Dunlop X8 Mini expression pedal, an integrated Line 6 G50 wireless system, and a PowerCON mod. I mainly run it DI, and at home I play through a Fender Tone Master FR-12.
*This only includes my main performance gear. Apart from that, I also have a ton of other amps and pedals. Because, after all, I’m still a regular guitarist. It’s never enough, always trying out everything… still chasing tone. 😉
Style: Inspired by and raised on the music of Slash and Zakk Wylde (his ‘pinch harmonics’), I’ve always been drawn to powerful, expressive guitar playing. Their signature tones and techniques shaped my love for bluesy, hard-hitting riffs and soulful solos. Also Jan Akkerman’s stuff, just listen to Streetwalker (OMG)…..
Love Paul Gilbert (listen to Gaul Pilbert ‘Fuzz Universe‘). And when it comes to guitar tone, Eric Steckel is my absolute favorite. His raw, dynamic sound, somewhere between vintage blues and modern fire, perfectly captures what I love about the instrument. Steckel is easily one of the most promising young guitar gods of this era, blending emotion, speed, and sheer power in a way that few can match.
