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White binding on body (w/b/w/b/w.) Rosewood overlay on 1st generation "Spatula" headstock (Sigma w/Σ logo.) Head-stock and fretboard are single-bound in white. Adjustable truss rod through peg-head. Rosewood fingerboard. Non-adjustable Rosewood Bridge. "Snowflake" (more similar to a Maltese cross) pearl inlay position markers on fingerboard.
Typical headstock inlay. Beyond the fretboard inlay, the headstock and sound hole are also commonly inlaid. The manufacturer's logo is commonly inlaid into the headstock and pickguard, if present. Sometimes a small design such as a bird or other character or an abstract shape also accompanies the logo.
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The entire range came with options such as solid tonewood bodies made from alder or ash, chrome or gold-plated hardware, aged plastic parts, Noiseless pickups, abalone shell dot position fingerboard inlays, a dark aluminum "spaghetti" decal, [3] 22-fret maple necks featuring rosewood, maple or ebony fretboards, quilted or flamed maple tops, rolled fingerboard edges, Fender S-1 switching, [4 ...
It was a plain-top Cherry Red Gibson ES-335. Many stickers were put on the guitar and the bridge pickup was replaced with a Seymour Duncan Invader pickup, which DeLonge had previously used in Gibson Les Pauls and Fender Stratocasters, including his signature model of the latter. The neck pickup was most likely kept stock since the cover was ...
Tony Iommi of Black Sabbath owns several custom-made black left-handed Gibson SGs with white cross-shaped fretboard inlays. Epiphone produces a similar guitar as the Tony Iommi G-400. [ 13 ] Iommi's original SG (used on the early Sabbath albums) was a modified cherry red, left-handed 1964 SG Special with P-90 pickups which he nicknamed "Monkey ...
The Special models came with the birdseye (not hard rock) maple neck, which was an upgrade from a production special. For the fretboard, one could select Birdseye Maple (standard), Rosewood or Ebony. For the inlays they had pearl or black dots (standard), EVH Blocks, Tribal Flames, Skulls or no inlays at all.
The Fender VI, along with the Jaguar, the Jazzmaster and the Electric XII, was given a cream/white-bound fretboard with rectangular pearloid block inlays in 1967, followed by a thicker black CBS-style headstock decal and polyester finishes instead of nitrocellulose lacquer in 1968.
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