Vintage 1960’s Silvertone Mosrite Electric Guitar

Here’s the original description from the 1969 Sears catalog:

Solid Body Electric Guitars Triple pickup (7 combinations). Three pickup selector switches. Solo selector switch for quick tone changes. Vibrato tailpiece produces Hawaiian and other special effects. Roller-type bridge adjusts. Ebony fingerboard. Edge-bound body. Highly-polished flame sunburst yellow, shaded to red, shaded to mahogany color. With vinyl-covered lined chipboard case. 1445L–Shpg. wt. 14lbs. $5 monthly. Cash $78.95 2 x 13 7/8 x 41 1/4 in.

1960’s Silvertone Mosrite Guitar (Back Catalog Memories) from MyRareGuitars.com

Mosrite Electric Guitar, The Ventures Model (Blueburst Finish)

It wasn’t long after we moved back to Toronto from California that I acquired this guitar. You have to understand – I’ve bought and sold more guitars in the past 20 years than there are Beatles fans in Liverpool. When you are in the business of buying/selling guitars, you simply cannot afford to get attached to them. Yes, it is hard some times, but in the end this is what pays the bills, so you have to let them go.

That is why this one is so incredibly special. I knew when I first saw her, it might not leave. In fact, in the early years of myrareguitars.com, I used to have a BUY NOW button and a price, just to test my resolve. Every couple of months I would get an offer near my asking price – that would scare the hell out of me – so I would jack the price higher to ward off temptation. But a few years ago I simply surrendered to the fact that I could never part with it at any price. Funny, because I hear stories from guitars players all the time about the guitars they covet and can never let go and I never really had that feeling. But now I did and I completely understand.

It’s not “vintage”, but it is “rare”. In the late 90’s and early 00’s, a Japanese factory was making these incredible Mosrite replica’s. Some had the tailpiece stamped with “excellent” instead of “Moseley” or “Vibramute”. The lower cost ones were selling in the $1,000 range (Excellent) and the “Vibramute” ones were the top end selling for 2-3 times as much. An enterprising young fellow in USA was importing them in low quantities (probably 50 or 60 at a time) and selling them in the early EBAY days. That is how I found this one.

It has a serial number of “0000”, which is cooler than the other side of the pillow. To this day I am still unsure of the factory that made them, but I can tell you this – the quality and craftsmanship is over the top.

There are very few guitars that I keep in my “collection”, this is one of them.
Check out these photos:

Back Catalog Memories: Blueburst Mosrite, Ventures Model from MyRareGuitars.com

Below, I lay out the answers, based on the classic traditional surf sound of the Sixties. Whether you want to nail the sound with vintage gear, or whether you are on a budget, you’ll find useful guidelines here.

Surf Guitar Gear Basics

Instrumental surf music has its own distinct sound – influenced by both the natural sounds of waves crashing on the beach, the typically rudimentary skills of its early performers, and technological breakthroughs in amplified guitar technology during the hey-day of surf music, the early 1960s. In short, the key characteristics of the surf guitar sound are a clean tube-amp tone and heavy reverb. Not coincidentally, those sounds are closely associated with Fender musical instruments. Back in the day, all Fender instruments were made in Southern California, just a mountain range away from the Pacific Ocean. Naturally, Fender had a huge impact on the early surf musicians blasting out their instro tunes in the music halls of SoCal.

Surf Guitars

Most early surf bands made use of a full array of Fender gear, beginning with the famous single-coil guitars that still define “the Fender sound.” Dick Dale, the father of surf guitar, played his staccato machine-gun sound with the help of “the Beast” a highly personalized Fender Stratocaster.

Today, the Strat remains a favorite choice for surf guitar slingers. The most popular Fender surf machines, however, are the Jazzmaster and its twangy, shorter-scaled cousin, the Jaguar. While nothing tops a vintage Jazz or Jag dated anywhere from 1958 (the first year of the Jazzmaster) to about 1966 (the venerated “pre-CBS” era, when Fender was still owned and operated by Leo Fender), you’ll have to shell out mucho dinero for the authentic item.

Fender Jazzmaster.. proper surfin’ vibes!

Fortunately, Fender has created excellent reissues of its classic instruments. Most players would agree, Made in America (often designated as “MIA”) vintage reissues of the Jazz and Jag come very close to the sound and mojo of the originals, and can be had new or used for less than a king’s ransom. For those on a budget, the Made in Japan/Crafted In Japan models (often denoted as “CIJ” and “MIJ”) come very close to the feel and tone of the American-made models, at about half the price.

A minority of players seek out other vintage guitars popular among early surf bands. Mosrite guitars, made by California’s Semie Mosely, were made famous by The Ventures – not strictly a surf band, but still a vital group in the pantheon of surf music legends. Other popular surf guitars include single-coil models manufactured by Japanese manufacturer Teisco Del Rey, American-maker Danelectro, and the Italian firm Eko. Plus dozens of Japanese guitars churned out during the 1960s and 1970s.

Any of the recent Eastwood Mosrite Reissue models are a great choice if you want to go down the Ventures route:

Eastwood Sidejack, a great option for surf music

That said, anyone new to the surf sound can get by with most any solid-body electric guitar featuring single-coil pickups. For the economy-minded, a Fender Squier Strat is a good choice. Yamaha also makes some surfy guitars loosely fashioned after the wild SGV models of the late 1960s. Other brands to consider are the Danelectro-style guitars made by Reverend, the retro-60s guitars made by Eastwood, reissue Danelectros, DiPintos, and the many Strat-clones made by just about everyone.

Back in the early 1960s, strings were quite heavy when compared to the light, thin, slinky strings favored on most guitars today. If you want a dedicated surf guitar, as opposed to one set up for playing a wide array of rock music, you’ll want to stock up on the heavier guages – high “E” strings of 11, 12, even 13. The true surf sound was typically played on ribbon-wound or “flat” wound strings; these help reduce string-slide sounds and have a mellower tone than the more common round-would strings. However, this is an item of personal preference; many surf guitar players swear by flat-wounds, while most continue to play the cheaper and more widely available round-wounds.

The Ventures, one of the greatest surf bands ever, played Mosrites

One last note: one other characteristic of the surf sound is whammy bar dips. Not the dive-bombing acrobatics of Eddie Van Halen, but a nice quarter or half-tone warble. Any worthy surf guitar should have a bridge set up to create this sound; used judiciously, they will stay in tune. Hard-bridge guitars, such as most Telecasters, lack this feature, making them less desirable among surf guitar players.

Surf Bass Guitars

Surf music played a big role in the acceptance of the electric bass and the movement away from the standup basses used by Jazz, blues, and rockabilly musicians of the 1950s. The surf players ushered in the era of the electric bass, launching the modern rock bass sound. Of course, the surf bands used Fender basses, both the Precision bass and the Jazz bass. Another popular brand was the Danelectro Longhorn bass, with its distinctive double-cutaway body.

Just as if their guitars, Mosrite basses were also used by surf bands, such as The Ventures. The Eastwood Sidejack Bass 32 is a pretty good choice, if you want something similar:

The Sidejack Bass 32… great choice for surf music

Surf Guitar Amps

Think clean, sparkly treble and a round, clear bass tone. That’s the essence of surf amp sound. The most famous and venerable surf amps are the classic Fender Showman and Dual Showman. These were early amp “heads” intended to be played through Fender amp cabinets, typically with big 15″ JBL D-130F speakers. These setups have mountains of clean headroom, sufficient to spread the sweet surf guitar sound across an entire auditorium of stomp-crazed beach kids looking for some fun on a Saturday night. You can still find a bargain on Showman heads by shopping eBay, but snapping up the matching cabs with JBL speakers will cost you a month’s salary or more.

Fender Bandmaster

Other popular early Fender amps are the Twin Reverb, Deluxe Reverb, Bandmaster, Vibrolux, and Super Reverb. Any of these true vintage Fenders will likely put you deeply in debt. Fortunately, Fender has revived many of its timeless designs, which are available as the reissue series. The ’65 Twin Reverb, the ’65 Twin Reverb Special 15, Custom Vibrolux, and the Deluxe Reverb Reissue are all excellent choices for surf music. If you want to lay out serious dead-presidents, the VibroKing Custom comes with a built-in ’63 Fender Reverb (see “Reverb” section, below), while the new SuperSonic combines the tones of the classic Vibrolux, ’66 Bassman, and modern high-gain amps.

That said, there are many other affordable – and not so affordable – amplifiers from which to choose. For novices who want to play at home, the Fender Blues Junior gets great tube tone. Other good choices are the Fender Blues Deluxe, a 40-watt with great versatility, and its beefier brother, the Fender Blues Deville (also sold as the ‘Hot Rod’ series amps). A bargain-basement amp that has excellent surf tone is the Fender Frontline 25R, a surprisingly warm-sounding solid state amp. Of course, you can play through a classic Marshall stack or Vox AC30 (the amp used by the fab British instrumental band, The Shadows). Anything is possible – just bear in mind, you’ll be straying from the classic surf sound.

Another choice (and this is mainly for guitar players with lucrative careers as doctors, attorneys, business execs, and mafia captains) are boutique amps. Many makers, most notably Kendrick and Victoria, have re-created hand-wired amplifiers based on the classic Fender circuits. You’ll get classic Fender tone without having to worry about the reliability issues that come with owning a 50-year-old piece of electronic gear. Unfortunately, the boutique makers seem to focus largely on the tweed-era Fenders of the 1950s, rather than the black-face amps of the 1960s, when surf guitar ruled. So, some of the boutique amps seem better suited to mildly distorted blues than to crystal-clear surf.

Surf Guitar Reverb

Ahhh, reverb. One of the earliest effects created for guitar, and the essential ingredient of surf sound. Originally intended to create an ambient atmosphere, like a large music hall, reverb came to the fore in surf music with the creation of the Fender Reverb based on the G15 circuit. Turned up midway, they do capture the sounds of amplified music bouncing off the walls at a high school hop. But turn the dwell, tone and mix knobs up past the mid-mark, and you start to get the wonderful resonance of a guitar played at the bottom of a well, or in a long tunnel, or perhaps through the barrel of a breaking wave. Coveted by surf musicians, these original tube reverb units are the standard by which all reverb is compared – and by which most fail.

Basically a stand-alone box, tube reverb works by taking the original guitar signal, pushing it through a series of springs mounted in a box, then recapturing and amplifying the sound again before sending it along to the amplifier. Soon after the creation of the tube reverb effect, Fender began adding reverb to nearly all of its popular amp models; however, most will agree that the reverb effect built into the amp itself is a pale and sickly cousin when compared to a true Fender reverb.

Today, you can buy reissue models of the classic Fender ’63 Reverb, but bear in mind, these are not actual copies of the originals. While the circuits are similar on paper, the newer units have circuit board construction, rather than the hand-wired circuitry of the originals. You can, however, find hand-wired reverbs by boutique makers such as Victoria, Soldano, and Kendrick, all based more-or-less on the original G15 circuit. You can also buy a kit and build your own (Weber Vintage Speaker Technology of Kokomo, Ind., is a good source for such kits).

If you can’t spend the $250 for a used reissue much less the $600 or more you will pay for a vintage Fender reverb or a boutique clone of the original, you can go with a variety of pedals, starting as low as $35 for a Danelectro mini-pedal to about $150 for a Little Lanilei reverb pedal that actually uses a spring reverb tank. Other popular models include the Electro-Harmonix Holy Grail and Holier Grail, the Verbzilla, and the Digitech Digiverb, which all get excellent reverb sounds for just over $100.

Finally, you may find that the reverb in your amp works plenty good. You may not get the sputtering “boosh” sounds of a true Fender Reverb, but you may find that it’s enough reverb for your throbbing versions of ‘Pipeline’ and ‘Miserlou.’ Then again, you might be like surf guitar aficionado Jeff ‘Big Tiki Dude,’ who believes that there is no such thing as too much ‘verb.

Good surfin’!

Post by: Gavin Ehringer

Let’s Go Surfin’: How to Get the Classic Surf Guitar Sound from MyRareGuitars.com

1967 Fender Coronado XII Wildwood 12-String Electric Guitar

Whether some cat took LSD, or anything lighter, while playing this guitar is also unknown. But there’s NO doubt drugs were involved. That’s because this is a Wildwood. And we’re not talking Jersey Shore here.

Well, ok, we really don’t know for sure about the sex and rock. This is a Fender electric guitar, after all, and I don’t think someone bought it to play jazz standards. Or Kumbaya. So that’s a yes on rock ‘n roll. And, anyone who’s ever played rock, by definition, had to think playing it would lead to at least the chance of a score – I know it’s circular logic, so let’s move on to the drugs.

1967 Fender Coronado XII Wildwood 12-String Electric Guitar

The Wildwood concept was invented by a Danish inventor, who hit on the idea of injecting dyes into growing beech trees. As the trees matured, their wood grain colored in green, gold and purple, gold and brown, dark blue, purple and blue, or blue-green. Someone at Fender, thinking this must be what the kids were looking for, bought the idea of making guitars out of Wildwood. Groovy.

The task of designing Wildwood guitars fell to Roger Rossmeisl. Roger is hardly a household name among general guitar fans, but he’s known to cognoscenti. Rossmeisl was born in Graslitz, Germany, in 1927. He learned guitarmaking from his father, Wenzel, who built Roger archtop guitars during the 1930s and introduced the first electric guitars to Germany in 1947.

1967 Fender Coronado XII Wildwood 12-String Electric Guitar

In 1952 Roger came to the US and landed a job with Gibson. The gig did not work out. Persistant, Rossmeisl went West and hooked up with F.C. Hall and Rickebacker. Accounts are fuzzy about the next facts, but by 1956 Rossmeisl was responsible for designing the Combo 600 and 800 series solidbodies, the legendary 4000 bass, and the Capri lines. He introduced both the top-relief German carve to American guitars (cf Mosrite; Semie Moseley briefly worked for Rossmeisl) and the more specific cresting wave design.

That alone would be enough to secure his fame, but Rossmeisl next approached Leo Fender about designing a line of bolt-neck acoustics in 1962 and was hired. In 1963 Fender’s broomstick acoustics debuted with a support dowel running from heel to tail and, significantly, exotic woods. Not new but cool. And not popular.

Roger is supposed to have known the Danish drug dealer and brought him to Fender. The Wildwood acoustic dreadnoughts and thinline electrics debuted in 1966. Which brings us back to this Coronado XII. The colored graining is in nifty green. The construction is solid, though hollowbodies without a log are not my favorite. And, even though my father hailed from Toledo and I’ve lived there several times, the Glass City’s DeArmond pickups have never been on my must-have list.

Fender Wildwoods officially lasted until 1971, but they were hardly a success, and are now a part of guitar legend. Japan’s Teisco company produced some knock-off Wildwood-style guitars, but they were not any more popular. Roger Rossmeisl returned to Germany and eventual obscurity. Leaving us only, I guess, sex, drugs, and rock ‘n roll – and the Fender Coronado XII Wildwood.

Sex, Drugs and Rock ‘n Roll (1967 Fender Coronado XII Wildwood 12-String Electric Guitar) from MyRareGuitars.com

I have been collecting guitars for 25 years. Although I have had many different guitars over the years, my preference is for Vintage guitars, which makes eBay a good place to trade because of the wide audience. So consequently you are probably reading this because you saw one of my guitars for sale on eBay. Welcome!

So, what’s up with the phrase, Even Better Than the REAL Thing!???? Read on…..

In Search of Mosrite: The Mosrite Ventures Model circa. 1987

For the past few years I had been looking for a really nice Mosrite Ventures Model Vintage guitar. Prices ranged from $1,500 to $4,000 depending on the year and the condition. Last year an angel descended on eBay with 35 NOS Mosrite guitars that were built in 1987. These guitars were all brand new and were never sold. They were stored in a warehouse for 14 years. Unbelievable! They were auctioned off one by one, week after week, until they were all gone. I bought the 13th one that sold. I was not disappointed.

1987 Mosrite Ventures Model Electric Guitar NOS

The first day I stared at it, the second day I touched it and on the third day I played it. The fourth day I told the family. The fifth day I told the neighbors. The sixth day, everyone came to look at it. The seventh day I rested. What an incredibly beautiful guitar! In fact, I soon realized that it was TOO beautiful! How could I risk pulling it out of the case every day and playing it? It was like having a bad addiction! I needed a fix! It drove me crazy to know that it sat right over there in the corner, taunting me, yet at the same time I could not risk opening the case for fear of damaging such a wonderful instrument! I needed a solution. Then it hit me… Buy a REALLY nice reproduction Mosrite that I could play everyday! EBAY on: search: MOSRITE.

1970's Univox Mosrite Ventures Reproduction Guitar

I started with this UNIVOX pictured above. Nice looking copy but the neck was typical of any reproduction 1970’s guitar and anyone who has played a Mosrite knows, the neck is what it is all about. Next I tried a Teisco model (below).

Reproduction Teisco Mosrite Ventures Model Guitar

Much better quality than the Univox, much better neck, and a good deal for a $300-$400 vintage guitar, but I decided to keep looking.

1970's Silvertone Mosrite Ventures Model Guitar

This is an early seventies Silvertone. A two notches below in looks, one notch above in feel, but not quite there yet. I also found another Silvertone, different headstock, body a little smoother, similar neck with a white pickguard. I suspect this one was makde by Kawai in the early seventies. Curious how the body and headstock are different, but all the hardware is identical! Here it is…

1970's Silvertone Mosrite Ventures Model Guitar (Kawai)

So, after a significant amount of research, and a great deal of time justifying the outrageous price, I purchased the Japanese made reproduction Mosrite, the one with the “excellent” tailpiece. Here is a picture….

1970's Japanese Reproduction Mosrite Ventures Model Guitar

This guitar retails for $1695 and you can get them for around $1000. Pretty pricey for an reproduction Vintage guitar, I must say. Anyway, I’ll be damned if this Japanese Mosrite isn’t one of the nicest guitars I have ever owned! It looks GREAT, the neck feels GREAT and dare I say, it even sounds BETTER than the 1987 Mosrite! Brighter, crisper, it sounds just GREAT. All of this is fine with me because after all, it is NOT a real Mosrite. No sir, I have one of those over there in the corner. The REAL Mosrite is not for playing, so it doesn’t matter anymore what it feels like and what it sounds like, it only matters what it LOOKS like. And so it should be. Who in their right mind would start bashing away on an instrument that can never be replaced? So, when I looked at the situation in this light, it occured to me that the Japanese guitar is arguably… Even Better Than the REAL Thing!

…and so started my quest.

I don’t think I would ever part with the ’87 Mosrite, but I think I have found a way to live with my addiction, and that is to supplement my real Vintage Guitars…. with guitars that feel, look and sound really good, but at a price point that makes it a no-brainer. It’s almost like buying insurance for the ’87 Mosrite. Now I am not playing it as often as I normally would and consequently I’m maintaining the integrity of the Vintage instrument and allowing it to appreciate.

Since then, I’ve been on a quest to find the ultimate in reproduction Vintage guitars that are qualified to add to the list. In so doing, with my efforts and those of others, I hope that this page can serve as a tool for people that are looking for “everyday player” guitars to supplement their Vintage Collection and also for people who would never buy a Vintage Guitar but want The Ultimate Reproduction Vintage Guitars on the Planet.

Please send along your Even Better Than the REAL Thing! guitar stories, along with pictures if possible, and I will include them. Here are a few examples:

Coral Hornet 1960’s

Vintage 1960's Coral Hornet Electric Guitar

For me, love at first sight. A while back I found one in San Diego. That is a picture of it above, a beauty. Unfortunately they wanted $2,000 for it. They probably still have it today. I’ve played one and they are a lot better looking than playing, primarily because the tailpiece is lousy. The intonation cannot be adjusted because it is a vibrato tailpiece with a piece of wood for a bridge that slides around. Every time you change the strings, you wrestle with it to keep it in tune. That aside, I could not get it out of my mind, so I found one on EBAY that had been refinished and needed a little TLC. With a little work, about $200 in parts (Bigsby and Tune-o-matic bridge) and a few hours of guitar love, I ended up with a real nice looking (some say wierd!?)AND a really nice playing 60’s Coral Guitar. The Gibson Bridge combined with the Bigsby Vibrato make this a NICE player. Stays perfectly in tune for days. Compared to an original at $2000, this one cost about $350. Here is a picture of it:

Vintage 1960's Coral Hornet Electric Guitar (Refinished)

Comments from Buyer: “Whooo–it got here! I was jumping up and down, and I was so excited that I dragged it over to a friend’s house last night. Thanks SO much!!!” Ann from CA.

In Search of Mosrite: 1987 Mosrite Ventures Model Guitar from MyRareGuitars.com