INSTRUMENTS & EQUIPMENT


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051. HAMBURG STEINWAY PIANO: High-polished mahogany, model S, 5'1" (export model, no middle pedal), in very good shape with original keys etc. Ed Foote, piano technician par excellence of Nashville says "Tell them it's a lovely instrument". Janis' father's before her, and used by Janis for writing many songs over the years. Appraised value (Ed Foote, Nashville TN.) is $15,000.00, with new ones costing $30,000.00. Yes you pay all shipping (hey, it's a charity auction)! Minimum bid $13,000.00. When I was two-and-a-half years old I watched my father playing "Clair de Lune" on the piano and suddenly realized that he was making those sounds. I immediately demanded piano lessons. He said I'd have to learn the alphabet and how to tell time first; I went to Mom in frustration and she taught me both within a couple of days. My father began giving me lessons but we argued too much (I can only imagine how crazy I must have made him!), so the folks turned me over to a series of mediocre teachers who only succeeded in making me loathe practicing. Nonetheless, I love the piano, and pianos - I'm still in mourning for the Bosendorfer I had to sell when my financial world caved in. This instrument was my Dad's before it was mine, and a gift from him to me. It's a lovely piano that has years of my family's writing (because my Dad is no slouch in that respect either) stamped into its soul.
  

052. PIANO BENCH: Black leather upholstered wooden adjustable classical pianist's bench by Paul Jansen & Son, very heavy, used by Janis since the mid-1970's; looks new, appraised at $200.00. I'm height-challenged, so it's important that I have seats which can be raised pretty high. This bench has served that purpose for a good fifteen years.
  

053. JANIS IAN SANTA CRUZ GUITAR: The second of three prototypes (now in production), used onstage by Janis 1994-present - yep, the same one you've seen at every show! Hand-built by Richard Hoover & the gang at Santa Cruz; spruce & Brazilian rosewood dyed matte black, with Janis' RUDE GIRL logo in mother-of-pearl at the 5th & 12th frets, SANTA CRUZ JANIS IAN in mother-of-pearl and gold on the headstock. Complete with LR Baggs pickup, straplocks, and Sabine Stealth Tuner (no longer made) built in. Set up for X-XL John Pearse strings; no case. Worn out from the heart, still very good-looking but not especially beautiful anymore; complete with nicks from Janis banging on it with her ring. New ones are priced anywhere from $3,500 - $7,000. Minimum bid $4,000.00. I had the idea in 1990 for an extra-small "girl's guitar"; although I'd grown up playing a Martin D-18, I wanted something that suited my size and body shape. I went around to all the major manufacturers, who pretty much laughed in my face. Then I begged Lloyd to make me another small guitar like the one he'd made in 1975, but he's committed to his work in electronics and said his luthier skills were too rusty. Eventually he put me in touch with Santa Cruz, who agreed to make one model for the cost of labor and molds (trust me - a fortune). They didn't hold much hope for it catching on, but Richard indulged me because of Lloyd. When the first prototype was done, they took it to a large trade show and "all the guys wanted one!" After they'd built this second prototype, they asked whether I would agree to let them go into production with it. I agreed for no fees or commissions, provided they would always have my name on the headstock. As far as I know, I was the first female with her own model in mass production. These guitars play great; slinky, skanky, very responsive necks and bodies. They sound really good in person, but they sound absolutely fantastic on stage; you can play pretty much anything on one.
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054. 40TH ANNIVERSARY DEEP BLUE FENDER STRAT WITH FENDER CASE: Formerly John Jennings' (producer of Janis' Revenge and all Mary Chapin Carpenter's records); used extensively by both Janis and John throughout Revenge & Hunger.Rosewood fingerboard; USA made standard Strat with 40th Anniversary flag on headstock; serial #4162967. Perfect cond - used in studio only, not on road. Color light blue (not standard issue). Minimum bid $400.00. When John learned that I no longer owned an electric guitar, he gave this to me. What an astounding fellow! It's a terrific guitar, plays great.
  

055. GIBSON BLUES HAWK: Black single cutaway guitar with soft case, used a lot on Hunger. Minimum bid $300.00. I found this guitar extremely useful, a cross between a funky Les Paul sound and the old Paul Butterfield Blues Band. Of course, with me playing it doesn't sound anything like Paul...
  

056. ANTIQUE BANJERINE BANJO WITH ORIGINAL OLD HARD CASE: Original skin, neck replaced years ago, played by Janis a lot. Minimum bid $300. I picked this up some years back at a southern trade show; swapped out another instrument for it. Tuning's a little cheesy - hey, whose tuning isn't once they pass 40 years old? but it has a terrific old-time sound and I love it a lot.
  

057. BACKPACKER GUITAR #701 MAY 1990 WITH MULTI-COLORED SOFT PADDED CASE: Bought from the original luthier before Martin took over. Used on Breaking Silence (particularly on "Tattoo") and Hunger as a high-strung guitar; no pickup, but very good tuners and a nice tone. Minimum bid $100.00. I was wandering around the Philadelphia Folk Festival in 1990, searching for the perfect guitar to take on vacations - something inexpensive and easy to carry, that would still sound good and enable me to write on it. I ran into this luthier and fell in love. When Martin took Backpackers over they made some small changes and began installing pickups; this is the original Real Deal.
  

058. FENDER BLUES DELUXE AMP: In perfect shape, used throughout Revenge & Hunger. Minimum bid $150.00. This was John Jenning's amp for a number of years before Pat purchased it from him to go with the Fender Strat he'd given me (item 054). A terrific amp, well maintained - never been on the road, just in the studio and my living room.
  

059. MARSHALL WHITE MINI-STACK: Two pieces, used since 1992 for every fuzz-tone and really warped sound on Janis' albums. Minimum bid $200.00. I love the sound of Marshall amps and when I saw this mini-version at a local music store, I knew I had to have it. We've used it a ton since then, and I've set a decent minimum because (quite honestly) I don't mind keeping it for myself!
  

060. SILVER CASIO DH-200 DIGITAL SAXOPHONE WITH MIDI CAPABILITY: Used on tour through the 1990's so Janis could fake the horn solos on "Fly Too High". This is one of those instruments that seems so obvious, you wonder why you didn't invent it yourself. A digital saxaphone with three or four different sounds that can also be MIDI'd to anything else for another sound, it doesn't require a reed - which lets an incompetent bozo like me pretend to be a sax player!
  

061. BLACK CASIO DH-200 DIGITAL SAXOPHONE WITH MIDI CAPABILITY: Used on tour through the 1990's so Janis could fake the horn solos on "Fly Too High". I found out about these from a friend whose emphysema prevented him from playing his beloved sax any more; there's a button you can push which makes the horn actually do the blowing for you, or you can "blow yourself".
  

062. SHURE SM-58 VOCAL MICROPHONE: With clip & pouch, used onstage by Janis only since 1994, in very good shape. I bought this because I wanted to carry my own vocal mic (and was tired of breathing other performers' garlic leftovers off the venues' mikes!); I was so pleased with how it held up that I now use Shure microphones and wireless systems exclusively on stage. I'm using a different microphone these days, so I can donate this.
  

063. SHURE L-4 DIVERSITY WIRELESS SYSTEM WITH TRANSMITTER, RECEIVER ETC: Used throughout the '90's onstage; old but still working (like most of us...) Being on wireless is one of the coolest things I've ever done; this was the second unit I ever purchased, and we used it right up until two years ago when Shure supplied us with a more modern one. I bought it around 1990 and have been thrilled with it since. And yes, that is how I can walk into the audience during a show.
  

064. ZOOM 9000 WITH POWER SUPPLY: The small non-rack mount version, in excellent shape, used on Breaking Silence, Revenge, and Hunger. What can you say about the Zooms? One of the best gadget boxes ever developed for a guitar, whether acoustic or electric. I bought this rather than the rack mount version because I wanted something that would easily sit next to me in the studio. The sounds are awesome.
  

065. MOECK FLAUTO DOLCE ALTO RECORDER WITH CASE: Used on "Jesse", "Applause", and throughout Stars & Between the Lines. In excellent shape, original case; minimum bid $125.00. "A recorder?" you say, "Why would anyone over the age of ten own a recorder?" Maybe because any idiot can play one and sound good? because at one point in my life I dreamed of owning one of every instrument? (I no longer own the Glockenspiel, or the gong). Maybe because, like me, you enjoy throwing a recorder or harmonica into your back pocket and wandering off somewhere to play, just for your own amusement. The Moecks are the top of the line in recorders, similar to a Bosendorfer piano or a very old Martin guitar - hard to find better.
  

066. GUITAR STRAP: Black satin, used exclusively onstage from 1993-present, still has markings from wireless transmitter tape on the back but looks great from the front. And that's really all that matters on stage - how it looks from the front and how it feels from the stage. I've used this strap for around six years, on stage only, and will miss it dearly.
  

067. GUITAR KIT: Tuner (Boss TU-12 with Janis' markings), very used Khyser capo, thumb & flat picks, all onstage gear for the last 4 years. All right, I agree - why would anyone want to buy a used capo and picks? but apparently people do, because people keep trying to buy mine after the shows. So here they are.
  

068. BRUSHED ALUMINUM SHELL GUITAR CASE WITH INSERTS FOR ACOUSTIC AND ELECTRIC GUITAR: Pretty much brand new, good flight case. Boy, cases are expensive - this one was up in the $400-$500 range when I got it. I've only used it for storage and shipping to and from studios and home, so it's not at all banged up. A terrific case, and one I no longer require.
  

069. SIGNAL-FLEX POWER SUPPLY BOX (PS-9) WITH DOD A/B BOXES: This signal-flex is barely used since Janis has three of them; a great way to avoid plugging in half a dozen power converters with your stomp boxes; keeps it all in one place and avoids battery use. A/B boxes are used for plugging a tuner into one end and your DI into another; that way you tune soundlessly. I found out about the Signal-flexes one day when two of my batteries and one cord went down, effectively reducing my foot pedals (stomp boxes) from four to one. A stage manager told us about these and we've been happy ever since. No big CLICK sounds when you turn on a Wah-Wah, because there's no battery usage. No having to buy 9-volts every day, take apart the stomp box, insert the battery, and hope for the best. Just good, clean voltage all running from one plug. I use the A/B boxes with mine so I can stay in tune... hey, it may be folk music, but that doesn't mean we're incompetent!
  


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