Aria Pro Ii Serial Number Dating Sears

Dec 15, 2019  Aria Pro II also made many cheap guitars and out right copies (clones) of other guitar brands. This was their downfall. They copied the Gibson 335, Les Paul, Flying V, Explorer, the Fender Stratocaster and Telecaster, the Rickenbacker’s, the BC Rich’s and many other heavy hitters of the day.

Silvertone was the brand given to musical equipment sold by the legendary Chicago retailer Sears, Roebuck and co. They sold guitars in huge volumes at significantly lower prices than the better known US brands, and although naturally not of equivalent quality, are still largely valued by collectors and musicians to this day. Most musicians who learned to play in the fifties and sixties will have had a Silvertone pass through their hands, and it is perhaps this nostalgia that keeps interest levels high.Sears were, of course, a longstanding catalogue retailer, and had offered musical instruments at least as early as the 1920s, and guitars from the 1930s. The first solid body guitars appeared in 1954 - models 1361 and 1363 - really not long after the early solid body offerings of Fender and Gibson.Sears did not produce instruments themselves; most Silvertone guitars were made by other American,(quite often Chicago) companies. Early guitars were produced by Danelectro (eg models 1375, 1377, 1303/U2, 1448, 1449) who had been making Silvertone amplifiers since the 1940s. Later guitars were produced by (1429), Valco and, later still, Teisco. Many of these guitars were direct analogues of instrument offered by the maker - such as Harmony's or the Kay, others were made exclusively for Silvertone.

Artlantis studio 4 64bit for mac. French group author / publisher / distributor of software and services for architects and professionals of construction, design, urban planning and landscape.

Jon Comment left 5th February 2018 00:12:55My first electric guitar was the 1452 (because it had 2 pickups) set and an Amp in the case, years later I gave it to a younger brother, years later I asked if I could get it back, he couldn't remember what happened to it. HmmAn irony in the story is I saved up had a $100 bill a lot of money in late 64 early 65 I went downtown to buy a used telecaster I heard about, for $75. They told me it was out no rental until Saturday, this was Monday money had been burning in that pocket for a week. That tele was likely a late 50's model, IF I had only known the future invention of the word vintage I would have waited. I left disappointed and thinking even if I wait to buy it I still won't have an amp, so I headed for Sears negotiated a great deal, the price tag said $105,plus tax, 2%, told the man I only had $100 bill and I needed bus fare and pak of smokes, I couldn't believe he said OK, he gave me the 50 cents back I needed and I was on my way with a guitar and Amp. The amp was a tank, my pal Bobby had a fender bass, no amp, so we both plugged in turned it all the way up and they both blared out.

Its amazing it didn't blow the speaker or the amp. When Danelectro started up again I wrote to the son told him the whole story, he told me letters like mine had been pouring in from all over the country and beyond. They had quite an impact on him about how much his Dad and his guitars had an affect on music and so very many people. I think Danelectro and Sears had maybe the biggest impact on the rise of rock in the 60's than any other brand, the low price was in reach of any kid with a paper route or a lawn mower, garages all over pulsated, was years later I found out one of those a block away from the first one I played in was the original home of the Ventures. Maybe some day mine will find its way back home. Scott Comment left 6th January 2014 23:11:46I recently came across a 1960's Silvertone 1450L Hornet that I have a few questions about if someone knows anything about them.

I cleaned it up and put strings on it and its plays great. It's all there except the whammy bar. I've seen a couple of these on E-bay but there are some differences. The 2 i found have 3 bolt neck joints this one has 2.

I read that the 2 bolt predate the 3 bolt. I'm trying to find out what year this guitar is.

Any help would be great. Scott Heidelberger Comment left 6th January 2014 23:11:00I recently acquired an early '60's Silvertone 1450L Hornet. I've seen a couple of them on E-bay but the ones I have seen have a 3 bolt neck joint. This one has 2 bolts on the neck.

I read that the 2 bolt pre-date the 3 bolt which puts it before 1964. I would love to find out more about this guitar. When I got it I cleaned it up and put new strings on it and this guitar plays great. The only thing missing is the whammy bar. Also there is no serial number or date on it that i can find. Might be something in the neck pocket but i don't want to take it off to find out.

Any information on this guitar would be very much appreciated. Catalog scan. The 1969 Fender Lovin' Care catalog consisted of 48 pages of electric guitars, basses, amplifiers, steel guitars, acoustic guitars, banjos and keyboards. Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl.

Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. It was the final catalog appearance, however, of the Electric XII, Bass V, Duo-Sonic, Coronado I and Coronado Bass I.

The bass was built in the UK, by Vox parent company JMI. It was the Vox equivalent to the bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers. 1970 Rose-Morris catalog, dated April 1970.

It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar. It contains the following instruments, over 20 pages: Electric guitars: Shaftesbury 3261, 3262, 3264, 3265, 3400; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Eko Rio Bravo, Rio Bravo 12, Ranchero, Ranchero 12, Colorado, Ranger, Ranger Folk, Ranger 12; Aria 1674, 1675, 1676, 1679, 1680, 1695, 'John Pearse' Jumbo, 'John Pearse' Folk; Rose-Morris 15-11, Kansas, Georgian, Florida; Suzuki 1663, 1664, 1665, 3054, 3055, 3060; Tatay 1713, 1714, 1715; Peerless 3052; Steel guitar: Aria 3425. The sixteen-page 1971 Rose-Morris catalog featured electric guitars by Rose-Morris' own brand, Shaftesbury, and budget brand Top Twenty; aswell as acoustics by Eko, Aria, and for the first time Ovation.

The catalog contains the following instruments: Electric guitars: Shaftesbury 3261, 3264, 3265, 3400, 3402; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Ovation: Balladeer, 12 String, Glen Campbell, Glen Campbell 12 string; Eko Rio Bravo, Rio Bravo 12, Ranger, Ranger Folk, Ranger 12, Colorado, Ranchero, Ranchero 12, Studio 'L'; Rose-Morris Florida; Aria 'John Pearse' Jumbo, 'John Pearse' Folk. A detailed look at an early 1970s Fender Precision bass guitar in custom black finish, with rosewood fretboard.

1972 list price, $307.50. The had been shipping since at least very early 1952 - with just one re-design circa 1957. This example, then, shows a model already two decades old, but barely changed since the '57 revamp. Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in '52: a simple, single pickup instrument with a GREAT sound. Check out the demo video through an old Ampeg B15. It's no wonder this is the bass that everybody wants!

The was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece. Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge. But this example is actually quite an improvement on earlier versions, with a standard 1/4' jack and a solid mahogany body. 1967 price £18 2s.

JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped. Not to be confused with the Gibson launched by Gibson in 1979; this ES Artist was an early model designed by the Gibson research and development team in Kalamazoo in 1977, the instruments themselves constructed by Gibson artist Chuck Burge. It was planned for launch as a high end semi acoustic with 335-style construction (central maple block) and innovative circuitry - but was pulled at the last minute, being deemed too expensive. Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to by Gibson in around 1980.

Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne music. The was produced by Hofner in Bubenreuth, Germany, specifically for Selmer, who distributed the brand in the United Kingdom, Australia, New Zealand, South Africa, and other commonwealth nations. The President was a hollow body electric acoustic, available as a full body or thinline, and with blonde or brunette finish. It was a great playing guitar that sold fairly well in the second half of the 1950s, throughout the 1960s, and into the very early 1970s. The example shown here is a full-body depth guitar in blonde - and as a 1965 guitar, one of the last to feature the rounded Venetian cutaway.

From late 1965 until 1972, the President sported a sharp Florentine cut. Naturally, such an electric acoustic suggests jazz and blues, but many of the original British Hofner President players were part of the rock 'n roll, skiffle and beat scenes of the late 50s and early 60s. 20 pages, black and white with color front cover.

In the middle of 1981, Rosetti took over distribution of the Gibson line in the UK. Rosetti were a very big name in Britain, having distributed since at least 1963, as well as and others. This catalogue was produced at the tail end of 1981, and introduces a number of models to the UK, such as the, guitars and the, the and the Flying V bass.

Some of these models were so short-lived that they were actually never included in US brochures. The cover image (reproduced in part here) showed some of the earliest demonstration models, including a Victory with a highly unusual white scratchplate. The Clubman was one of the earliest UK-built guitars produced by Vox at it's Dartford plant. As an entry level model it was very light, fitted with the most basic components, and not made of the most select woods, but it's unique styling, low price and easy playability made for a relatively popular guitar.

Initially there were two guitar models, the single pickup Clubman I and dual pickup Clubman II, and a companion - check them out in the. The guitar was redesigned in the middle of 1963, getting a new Strat-style body, but examples with the older body style were still being shipped perhaps as early as the start of 1964. The Vox Consort was produced in the UK throughout the mid 1960s; originally modelled on the, it was one of JMI's better quality instruments, with many features not seen on lower-priced guitars.

This early example mixed innovative tone circuitry with Vox's original chrome-covered V1 pickups, for 'every possible variation of tone from bass to sharp brilliance'. By the middle of 1963, the model had been redesigned, becoming less Fender-esque and more Vox - have a look at the redesigned Consort in the. The Gibson series pre-owners 'manual' was produced for circulation in early summer 1981, along with nine other manuals representing different segments available from Gibson at that time. Rather than a manual in the conventional sense, it is actually a mini folder with three loose-leaf inserts with catalogue-style image and description, one each for the 180 Deluxe, 180 Custom, and a new model, the Sonex Artist. The Sonex-180 Standard was not included, having been dropped from the Gibson line earlier in 1981.