For comments or questions, please write me at solodallas@gmail.com 

It's been a long time that I have been wanting to have a page up like this one. Or similar. With all my gear on it, that is. Yes: I'm a gearhead. Maybe then, I only end up using the same ol' stuff, but I indeed dig gear and like to experiment a lot. 

 So this page here will be filled with images and information - all I know basically, which isn't that much after all  - even containing links where appropriate. I am in NO way sponsored or endorsed (yeah, right) by ANY of the names I will mention here. So feel at ease. 

 Let's begin with a recent acquisition, a 2006 Les Paul "Murphy" aged, Yamano selected (Yamano is a Japanese chain of retailers which are known to select only high quality gear) Lemonburst. 

I changed several things on this guitar since I got it. Humbuckers are now Dr. Vintage; StopBar and Bridge are Tonepros (purchased at RSGuitarWorks). Pickup rings, pickguard and switch ring are aged replicas. Switch tip is the correct, aged replica as well. I love this guitar, which weighs in at 8 lbs 12 ounces. I bought this one at Mark's guitar Loft (you can click on the images to enlrage them; then, push the back button).

  Below, another image of this Murphy aged 2006 LP, and next to her, my 1953/1959 Scott Lentz Conversion. A conversion is, basically, a Gold Top form the early fifties then "converted"  into a late 50's model ('59, since '59 is the "holy Grail" year for Les Pauls, due to certain reasons). 

The Lentz' conversion has real PAFs (1959) on her and real parts, except for the tuners that are common replicas in the picture below. I have now changed the tuners to fake58 tuners (you can find the link on the left side bar), which look a lot more authentic (properly aged, shrunk, etc,). 

A close up of the very same couple:

The Lentz' conversion (below) weighs a tad more, I measured her in Kilos, that being 3.9 Kilos. Not too heavy, not featherweight. Here's a close up of the Lentz'.

I like light Les Pauls, not heavy ones. It's related to at least two things: comfort and tone. I am convinced that the lighter ones have the tone I want. It's been a long path to finding out, but now I know. There's a lot of controversy about this (weight) with many saying weight won't influenced tone. For me, there IS a difference. In the sense that, I like the tone of the lighter ones (it is more "airy" to my ears; more "hollowed"). So I generally look for very light Les Pauls.

Back to another couple display, my 1967 original SG Standard and the Murhpy Yamano.

Finally in these images you will be able to see details you were not able to see in the videos (in case you were curious). Especially for the SGs maybe, since I am rather concentrated on AC/DC. 

Here you have more images (shot from the seller) of this 1967 SG Standard:

So, can you see now the "test of time" I was talking about on video? Most of the times, common camera videos won't allow me to show this level of detail of the instrument. I like these scratches. I like instruments more this way than all shining and new. Shining and new means = no one ever played you. All banged means = you've been played a lot (also meaning, sounds good). A good guitar in fact gets picked up to be played a lot. As opposed to a maybe gorgeous looking one that sounds horrible and will turn you off after a short while. So when you see guitars with lots of wear on them, you know that's a good sign!

Still carrying on this first batch of images introducing a few more guitars, I have these two shots of me I like much. They remind me of the great players of the past. I know I know, I don't even get close to them. But I trained myself in the years to play with all of myself, always, each time, every time I pick the guitar. And this live here in front of a bunch of Italians last year is a fair representation of what my face looks like (if you have seen my Youtube material, you already knew by now). The facial expression doesn't want to mean anything in particular to the viewer. It's a very personal way of mine to find the approach inside of me. It just corresponds to what I go through trying to find the right finger positions, the right wrist position, notes, vibrato and all. It's a big freaking effort that can be rewarding at times.

And another moment, pretty intense soloing. The guitar I was using here is a 2000 Les Paul R9 I had bought from Marks' Loft (link in the side column). This guitar is also pretty light in weight (none of the guitars you've seen 'till now is weight relieved: all solid bodies). Mark had actually stated on the guitar's description that this one was featherweight. I forget its weight, will have to re-weight it. It now mounts double Dr. Vintage humbuckers (bridge and neck). Lot number 113 on this one (early ones). 

This guitar also came to me with 50s wiring (already modified by the previous owner). I have now swapped the StopBar and the Bridge (TonePros locking studs and bridge). Also the pickguard, PU rings, switch ring, switch ring guard and switch tip have all been swapped with aged replicas. 

This shot is also a good point of view to really see that my teeth are pretty straight and healthy. My dentist was proud too when I showed him.

And let's see my main amplifier that has been with me for a while. A Marshall reissue 1987XL head (Effects Loop) modified by David Bray (link on the column) and its reissue cabinet, a 4x12 1960BX (non slanted) loaded with Celestion Vintage 30s. Basically, I chose all the modifications David was able to add for me in 2006. Next to it, from left to right, are two of my recent SGs. A 2006 VOS 1964 Historic Reissue SG Standard (Custom Shop), with vibrola. This one has had the bridge pickup swapped with an Angus Young Signature. To its right, an original 1964 Gibson SG Standard that I bought as an issue guitar (had several problems). Issue guitars are relatively inexpensive. You can therefore buy original wood from the 60s, have it fixed and restore it to original looks and specs to your likings. And what of a satisfaction that is, when with a few thousands only (say 3k USD, the price of a new custom shop guitar!) you own the same piece of real history that some sell for over 25k USD!

A couple images of one current "wall situation" with a few of my guitars which you have already seen. Please note one great passion of mine: on the left, a Star Wars Stormtrooper standing by.

Down below is a correct white balance (not easy at the studio with those intense lights) image of the Lentz Conversion on my older 4x12 slanted Marshall original cabinet and Celestions. Dated back to 1969 (metal handles). Not using that one so much anymore. On top of it, my 18 watts reissue Head. Good little kit.

And right after, a non correct color (too washed out, was fighting with white balance anyway) of a few of my guitars. One that you haven't seen often is a 1969 Goldtop. No volute. Not a once piece guitar (sandwich). And not even light weight. But great sounding.

More below here, my 1958/'59 (still unknown, although it is definitely an original, late 1950s Les Paul!) that was an issue guitars. I have already talked about my philosophy on issue guitars. Basically, guitars with problems. You buy them for cheap. I like to buy 50s and 60s wood for cheap. And then, restore it. This one was bought 10 or 15 years ago for US$2000 at the time. The headstock had been broken and poorly repaired (typical). But it had two out of three real PAFs in her. Today, that price would be for one PAF only. Heh. So, I kept her in a corner until recently. When I had her repaired a little better again. Soon she'll be properly be taken fully care of. Might re-break the headstock since it doesn't sport the right angle (50s angle). Will see. The Bigsby gives her an additional hefty weight. So, going back to issue guitars: buy for cheap a guitar with problems and in time, have her fixed. Most of the times, you will have the greatest satisfaction out of these. It does look a little bit like early Jimmy Page-ish. Huh?

And shot below with sister (in the sense of, co-original-50s wood in the same room) Lentz Conversion:

Now a picture of one Les Paul I haven't dedicated much attention to, yet. This 2007 Chambered LP. Much has and is being said about these guitars. I will only say that I like this one (and supposedly, many other chambered ones). I don't nor will favor it over the non chambered ones. It's just different, but I do like this difference. I think this one would be called "iced tea" burst, but I'm not sure.

Another one of a couple of similar ones. The Lentz and the 2000 R9. The Lentz is IN focus, the R9 out of focus (shot with a Prime Lens, 50mm).

And now a sort of side by side comparative shots of (left) a 1964 Gibson SG Standard (lyre vibrola removed before it came in my possession, holes visible) and (right) a 1967 Gibson SG Standard. These are my favourite SGs at the moment. 

Close up:

As of today (Saturday the 13th of September 2008), AC/DC have announced their return. We at SoloDallas' family here, are getting ready for it. So right below here, two other treasures of mine. Our four months "AC/DC" kid and my beloved wife.

Now to just draw you away quickly from this romantic fall of mine, a close shot of my 1970 SG Standard. Not the same guitar you saw above. 

It is believed that Angus Young from AC/DC still owns and loves his very first 1970 SG Standard. A guitar that could be much likely very similar to this one right here (since they are both the same production year).

Below here, a closer shot of my 1964 Gibson SG, minus the original Lyre Vibrola, removed prior my purchase.

And here, couple with the previously showed 1970 SG Standard:

Below a couple of new images (as of Sep. 2009): a few of my SGs. 

From left to right, a 1961/'62 SG/Les Paul Custom (all original), a 1967 SG Standard (seen above), a 1968 SG Standard and a 1969/'70 SG Standard (not the same 1970 seen above: the '68 and the '69/'70 are two new additions).

A couple close ups of the '68:

And a close up of the '61/'62 Custom: