Michael Schenker Gibson Custom Shop B&W V

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Why would that guitar command so much money? Are there really that many MS fans?
Maybe in Japan and Europe. MSG was huge over there.

I would recommend picking up a white V for a good price and getting it painted if you want one of these.
 
One has listed on Reverb....$16,999.00 I don't know how the signature looks remotely like the name Michael Schenker though....Did he sign them in German??? For $17,000 I'd kind of like his name to legible to prove Michael signed it.....................:eek::confused::dunno:
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https://reverb.com/item/95075619-gi...9.uJ95h_5MDurflMJFfjtBXXNvzcD5qK91qi953It3T3Q
 
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That price is crazy and Schenker is my #1. I am quite happy with my 1400$ Edwards out of Japan. Plays great, fantastic finish, duncan pups. If I throw a Gibson logo on it and chip the corner, it becomes road worn and legit.

Personally, I think I would want one of his Black/White DEAN USA models. I think they had ebony boards and I thought he sounded great through those.
 
Agree on the price, crazy.
Like most "limited" series that have come out of Gibson the past years.
But this one even more so when you compare to the price of getting an actual vintage one.

This is the one I would have done as a tribute IMHO:

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Always loved the particular look of those rare block inlays; and his main Medallion was actually mostly played before the B&W refin with UFO.
 
The « Norlin era » produced some great instruments IMHO.
This not the « golden era » by any mean, different stuff but still; some nice guitars can be found.
My ‘76 Explorer is as “good” as any older humbucker Gibson I’ve played; I love my early 70’s LPs as much as any older LP I’ve played. Etc. all the later includes 50’s examples, and no new/recent “reissue” stuff was near the same league as those good old 70’s ones to me.

I could not agree more. The whole Norlin = bad thing is just Internet hype, which actually works out because it's kept the prices lower. Especially the ones that were still made in Kalamazoo. There are some good guitars that came out of Nashville, too, and some bad ones from KZ, but the good ones are as good as any I've played and better than most.
 
I could not agree more. The whole Norlin = bad thing is just Internet hype, which actually works out because it's kept the prices lower. Especially the ones that were still made in Kalamazoo. There are some good guitars that came out of Nashville, too, and some bad ones from KZ, but the good ones are as good as any I've played and better than most.
Keeps the prices low? 😂
 
Yes, everything is relative :D

Everything related to “vintage” or “collectible” has about doubled since covid I’d guess.
 
I could not agree more. The whole Norlin = bad thing is just Internet hype, which actually works out because it's kept the prices lower. Especially the ones that were still made in Kalamazoo. There are some good guitars that came out of Nashville, too, and some bad ones from KZ, but the good ones are as good as any I've played and better than most.
All I know is my 83 LPC would not stay in tune to save it's life even when I hardtailed the trem, it still didn't want to stay in tune, it was a complete bummer as it was beautiful pearl white guitar, ebony fretboard. But it did have that Gibson Kahler style prototype tremelo that never went into full production and was scrapped by Gibson.
 
All I know is my 83 LPC would not stay in tune to save it's life even when I hardtailed the trem, it still didn't want to stay in tune, it was a complete bummer as it was beautiful pearl white guitar, ebony fretboard. But it did have that Gibson Kahler style prototype tremelo that never went into full production and was scrapped by Gibson.

Certainly some duds from that era, too. And those prototype trems were trash, at least the ones I've seen. That sucks, though... I love white LPCs.
 
Paul Hamer of Hamer Guitar fame did the original Black / White paintjob on what was then a red V
 
Curtis Meissner (who worked at Hamer) actually is the one who did the work on Michael’s V back in the 70’s and early 80’s if I have my history correct, especially his « main » Medallion in this early UFO / MSG period.
He shared detailed info & posted photos about it over the last few years, cool stuff.
If I recall correctly, in short:
Michael’s « main » Medallion had the coin removed early on and was first refin black by ´75. Then it got damaged and repaired & refined a few times: it was full white around the Obsession tour; then Curtis repaired it and made it to the famous B&W scheme for the first time in ‘78.
Michael got it back and resurfaced with it by early ´79.
Curtis remembers repairing its headstock at least twice.
It can be seen played in the 80’s along the newer block inlay one; seemed the Medallion became quite fragile and unstable with all the repairs by then.
Its history becomes very fuzzy after that and noone seems to know where it is today (at least publicly).

My understanding is the #56 Medallion Hammett recently bought is not the same guitar. It can be seen played in ´84 still in its original form, without the B&W refin.
Curtis confirmed that and Jeff Lisec has it summarized on its (great) Flying V website.
 
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