After documenting the musical equipment I use in some previous mentions on this site, I decided I wanted to elaborate a little more on my feelings about buying gear and how important I think it is to not lose sight of what's really important.....making music.  I've gotten a lot of great responses about the articles on my studio and live gear, and I am glad that people have enjoyed something that took me awhile to publish.

I really enjoy reading about new and old musical equipment.  I try to keep up with what's new as well as what's happening in the world of vintage gear.  The advent of the internet makes it so much easier to research what is available, and it also makes it more convenient to buy and sell items.  Often times I have asked dealers about something only to find that they were not aware that a particular product existed.  The internet is a source of a wealth of information on all kinds of musical things.  Traditional newsstands also offer more publications than ever, which can keep guitarists informed about what is available.  A more knowledgeable consumer base has forced dealers to stay on their toes and become better educated about the products they sell.  Internet resources also allow customers to compare prices on items so that they can find the best deals when shopping.

While not an economics expert, I realize that gear is usually priced at a certain level because someone is willing to pay that amount for it.  There has been an explosion in the number of people playing guitar and more equipment is available now than ever before.  Prices have shot through the roof on vintage guitars and amps, and there is a large market for expensive new boutique gear.  The main thing to remember when buying equipment is that price doesn't always reflect the worth of something in terms of its music-making value.

I don't claim to know everything about music equipment, but I do have several observations I'd like to make based upon my own personal experiences with instruments.
 
 

The Mystique Factor

Some equipment is priced exorbitantly because of a certain mystique added either due to rarity or the fact that a famous player might use it. The romance of music and gear is an attractive obsession.  Many famous players are instantly linked to their equipment.  Who can erase the images of such luminaries as Jimi Hendrix scorching his Fender Stratocaster, B.B. King caressing his Gibson Lucille guitar, Jimmy Page holding his doubleneck SG, or Pete Townshend blasting through his Hiwatt stacks?  While we are all influenced by players we admire, and we might buy the same gear they use in hopes of capturing some of their magic, all of the great guitarists used equipment that spoke to their hearts and sense of originality.  Some played instruments that were simply what they could afford and what was available.

There have been many cases where a product achieved legendary status and a hefty increase in value after it was discontinued from production.  A tremendous example of this is the Ibanez TS-808 Tube Screamer overdrive pedal.  The 808 was made in the early 1980's and was easily found in many music stores.  I've heard that they could be readily found for about $30-40.  While many players used them, it was not considered to be an excessively noteworthy unit during the time of its production.  In fact, Ibanez felt they could make improvements on the pedal and released subsequent successors such as the TS-9 and TS-10 units.  When it was discovered that legends such as Eric Johnson and the late Stevie Ray Vaughan both used 808s to help achieve their highly-regarded tones, 808s suddenly became collectable.  Nowadays, TS-808s can approach $500 on the market.
 
 

On a personal note, I own a TS-808 and bought it because I like the way it sounds.  However, even though it is very desirable as a collectable, I must admit that I hardly use it because I've found some newer, decidedly less expensive units that I think are better for me.  I've learned that just because a player I like uses a certain guitar, amp, or effect doesn't mean that it will be the best thing for me to use to achieve my musical direction.  Instead, I try taking each piece of gear on its own merits rather than being swayed by the mystique factor.  It doesn't always work though, I must confess :-)
 

The Vintage Factor

Is something really worth more just because it's not made anymore?  Is older equipment really superior to new products? In the case of some vintage equipment, prices have skyrocketed to insane levels.  It might be interesting to look at why a product is no longer being made.  Perhaps it didn't sell well during its production?  Maybe it wasn't that great in the first place?  Could it be that improved designs were built making the units they replaced obsolete?  Whatever the reasons, many players prefer vintage equipment to newer instruments.  We live in a society of mass-produced products and it is possible there is less "soul" in gear today since many things are not made by hand or with the attention to detail, as was the case decades ago.

All music companies strive to make a profit.  That is the way of the world.  Sometimes more profit can be realized by replacing human workers with more efficient machines.  Designs are sometimes changed in order to accomodate a more effective production schedule. Unfortunately, many newer products seem to be a victim of the quantity over quality syndrome, but this is not always the case.

It is my belief that there are some really fine products being made today and that many are superior to older pieces.  However, there are some older items that are rightfully regarded as better than their newer counterparts.  For instance, as far as vintage guitars are concerned, lots of older instruments are superior because they have had many years to age.  Woods dry out and the tone improves.  Hand labor also insured more attention to detail per instrument.  Guitarists generally favor older tube amplifiers for their warm musical tones in addition to their relative ease of service.  What many people don't realize, though, is that there were some subpar instruments and amplifiers made in the "old days" too.  An argument can be made that some modern mass production techniques actually promote more consistency between items today than those of a vintage nature.

Another area concerning the "vintage mystique" is the analysis of vintage tone.  Many players strive to emulate the tones that legendary players had on old records.  What may not be readily apparent is the fact that most of the old records were made with instruments that were new at the time of the recording.  Many tone connoisseurs rave about the vintage Gibson Les Paul sound that Eric Clapton used on the Bluesbreakers "Beano" album.  That guitar was not even 10 years old at the time of that recording.  Maybe that guitar would have a better, sweeter tone today; but it was a relatively new guitar and not considered vintage in 1966.

I am not firmly in favor of making a generalized judgment call between new and old equipment.  Again, I try to take things on a per unit basis.  I feel that some vintage prices are grossly inflated relative to what the product offers.
 

The Boutique Factor

"Boutique" manufacturers of guitars and amplifiers arose primarily to address the deficiencies perceived to be evident in newer mass-produced equipment, and in some cases vintage gear.  Many of these companies are very small and devoted to crafting handmade first-class products rivaling and even surpassing the most desired instruments of yesteryear.  Whether it is an unabashed replication of an older product or the creation of an inventive new product, boutique instruments and amplifiers cater to the most discriminating tastes.  Some companies are small enough to allow the customer to order "custom" items.  As a result of their efforts, these companies command premium prices for their products.

Guitar Acquisition Syndrome  (G.A.S.)

This is a great term that seems to be popular among guitar aficionados.  When you've just got to have a new guitar or go buy something to quell the craving of having a new piece of gear, it's often called "Guitar Acquisition Syndrome" or G.A.S.  Some might even call it “Gear Acquisition Syndrome”.  I just had a bad case of G.A.S. recently, so I just had to go get something new.  Unfortunately (or fortunately as the case may be) many players never pass G.A.S.  It is a lifelong affliction.  It can lead to impulsive purchases and the rewards can be great, or the player can turn around and sell what he bought when he realizes it doesn’t bring total fulfillment.  Nonetheless, many companies depend upon players having G.A.S. for their livelihood.  We won’t make any jokes here about A.A.S. (Amp Acquisition Syndrome).
 

Closing the Deal

Buying gear can be a very rewarding yet sometimes frustrating experience.  It is important to know as much about the product as you can before purchasing it.  Decide if you think it will inspire you to make better music.  Is the item in question fairly priced in terms of what it's worth to you?  Are you getting it for collecting or to use? There are numerous stories of Japanese investors buying up hordes of vintage Fender guitars and taking them back to Japan to sit in storage.  Collecting is fine.  There is nothing wrong with that, but instruments were made to be played and to create art.

All I can offer is my experience.  I get caught up in the fever to buy new equipment like most players.  Sometimes a more expensive piece of gear is superior.  On the other hand, I've purchased modestly priced guitars, amps, and effects that perform wonderfully and help me to create music.  There's a big difference between being cheap in price and cheap in quality.

Buy smart. Pay what you think something is worth to you whether it is a large or small amount, and always let the music be the priority.  It is easy to let the equipment get in the way of creating.  Remember, that equipment does make a difference in how one sounds, but true musical spirit can find its way to be expressed through almost any guitar or amp.
 

Jason