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JOHN PORTER
A Life in Guitar: Producing, Picking, Collecting
Player, producer, unabashed guitar enthusiast and astute collector, his professional credits are diverse and voluminous and include Clapton, Hooker, Santana, Stephen Stills, and more. By Wolf Marshall

AMP-O-RAMA
The Gibson GA-79RVT
Gibson amps from the 1950s and ’60s are generally seen as “poor man’s Fenders.” But this tone machine stands alone as the last truly groovy amp of the golden years to wear the Big G logo. By Dave Hunter

WEISSENBORN STYLE #4
Highly specialized instruments, Weissenborns were made for guitarists who played Hawaiian music in the late 1910s and ’20s. With their koa construction and square, hollow necks, they were unsuitable for virtually any other style. By George Gruhn and Walter Carter

DAVE WRONSKI
Three Decades of Reverb-Drenched Instrumentals
One of surf rock’s most innovative heroes, his work blends ferocious double picking, chilling glissandos, and vibrato bends with a reverb-drenched twang that ricochets between serene and menacing. By Damian Fanelli

SLINGERLAND MAY BELL
The historical guitar landscape is littered with brand names most of us know little or nothing about. In 1933, Slingerland (known for making drums) offered this guitar, which appears to be a resonator guitar, but carries a story with interesting context. By Michael Wright

BASS SPACE
The Martin EB-18
Martin’s solidbody E series guitars debuted in 1979. Among them was the company’s first venture into the electric bass market. Unfortunately, despite being well-made, it didn’t set the world ablaze. By Willie G. Moseley

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