The Flying V has a rich history in music of all genres. … The craziest fact about King’s original Vs and V copies is that three are now owned by … Kirk Hammett explained: “I bought my black V in 1979, and it’s either a ’74 or ’75.Find a flying+v on Gumtree United Kingdom, the #1 site for All Categories … Jaxvilleflying V copy electric guitar Sheffield … Dean V79 Flying V Re-issue.
The Flying V appreciation thread Guitars in General. … one wiith a multilayer neck in a thicker center section, with thinner wings – a V-bird! … This is a 1979 Starfield in which I traded a 78 Hondo LP and some cash.Reminder: Nick Compton hit 79 for Worcestershire against Australia at New Road … Standout: Jackson Bird took four wickets as Australia dominated against …Alastair Cook interview: Nerves are flying on both sides… let’s see …
One of the biggest myths about Jackson/Charvel is that a lot of guitarists out there think that Grover Jackson or Wayne Charvel made the Randy Rhoads polka dot Flying “V”. Grover Jackson andTim Wilson made the white Jackson “V” and Grover Jackson,Tim Wilson and Mike Shannon made the black Jackson “V”, but Karl Sandoval actually made the polka dot flying “V”. However Karl did work with Grover Jackson and Wayne Charvel for about a year or so. The guitar was ordered on 7-3-79 and was completed on 9-22-79. The guitar appeared to be of solid body neckthru or set neck construction, but was actually a Danelectro neck that had been glued to a flying “V” body! These bow tie inlays were simply routed on either side of the existing dot inlays, the pick-ups were DiMarzio P.A.Fs, Schaller tuners were installed and white Gibson Les Paul control knobs were used.There are six Sandoval V’s that have been made to date and no two are the same.There are a couple of Copys that have been made by a late Jackson employee that are very good but they are too large and there are two very early 80’s Charvel V’s that were made that look very close to the original Sandoval V and last but not least in Japan there are a few Fernandez polka dot V’s.These where never sold in the USA and are pictured in a old Fernandez catalog.
The Flying V has a rich history in music of all genres. … When Gibson’s Custom Shop examined “Seven” to create the signature Lonnie Mack … Kirk Hammett explained: “I bought my black V in 1979, and it’s either a ’74 or ’75.
One of the most challenging feats of a major artist release from Gibson Custom is coordinating schedules with busy artists. In order for a few passionate fans and collectors to know that their guitar has been held, tested and signed by the artist, phone calls are made, flights are taken, appointments are held, sometimes cancelled and rescheduled and so on, until the planets align and guitars meet their namesake for a few minutes together to make sure that each passes muster. This critical and final step connects the owner to the artist in a very powerful, physical way; both hero and fan have held the same instrument. It’s a very unique and exclusive value that stays with the guitar for its lifetime. Shown here, Metallica’s Kirk Hammett stands amidst a sea of reproduction ’79 Flying V’s from Gibson Custom, each a recreation of his own instrument right down to the gaffer’s tape and the occasional ding or dent.
Up for sale is a great condition Dean 79 series flying V in a beautiful black finish. This guitar has been meticulously cared for and has lived a pampered life- never been gigged with, constantly cleaned and maintained and stored in a moisture free environment. It has also been upgraded as can be read below
This is a discontinued model from Dean that retailed for over $800 when new. Very similar specs to Dean’s current 79 series ML guitars.
Mahogany body and neck (set neck) with Rosewood fingerboard and white binding.
Grover Tuners (Chrome Hardware)
Tune-o-matic string through bridge
Guitar has been upgraded with professionally installed Original Bill Lawrence XL-500 Bridge and Neck Pickups! These pickups are very very versatile (Neck pickup is split for single coil use as well!) and sound amazing whether playing sparkling cleans, dirty blues, or heavy metal…Used by the late great Dimebag Darrell and have to be heard to be appreciated (original pickups included in sale as well, but these pickups sound flawless!)
Seperate volume controls for each pickup, 1 tone control knob that is also a push/pull to access the coil split feature
3 way toggle switch (plastic knob is missing)
A graphite nut and Dunlop strap locks have also been professionally installed (A dunlop camo strap is also included)
This guitar plays absolutely beautifully! It only has wear from regular playing…There is no damage to any part of it whatsoever. The only reason I am selling it is because I no longer get around to playing and I would rather it gets played and enjoyed for the great piece it is by another guitarist then sitting in the case.
Undeniably one of the most influential players in the history of metal, Kirk Hammett has expressed unparalleled power, tone and talent in his nearly 30-year career with Metallica. Listed at #11 in Rolling Stone‘s “The 100 Greatest Guitarists of All Time,” Hammett has also proved himself an enduring and multi-dimensional artist, coining timeless riffs and contributing to classic hits year after year in a genre that is more often known for flash-in-the-pan successes and rapid burnouts. Kirk and Metallica have conquered not only the metal world but the entire music universe, becoming members of the Rock and Roll Hall of Fame in the process. Throughout this time Kirk has played a 1979 Gibson Flying V. In celebration of his amazing career, Gibson Custom introduces the Kirk Hammett Flying V, a meticulous recreation of Kirk’s own Flying V and trusted companion throughout his playing career with Metallica, the biggest metal band in music history. This tribute to Kirk Hammett’s achievements will be produced in strictly limited numbers: 50 guitars will be aged and signed by the artist himself, with a further 100 guitars aged only.
To recreate the Kirk Hammett Flying V in intricate detail, the acclaimed luthiers at Gibson Custom digitally scanned Kirk’s original 1979 Flying V and precisely measured every significant specification, sparing no effort in the task of reproducing this iconic guitar’s tone, feel and mojo for a limited number of players. The body is crafted from a single piece of resonant mahogany, with a glued-in, three-piece, quarter-sawn mahogany neck. The rosewood fingerboard carries 22 jumbo Jescar frets, as used on Kirk’s own guitar, and pearloid dot inlays. In a similar nod to absolute accuracy, it is topped with a rounded ’70s V headstock with no headstock veneer, and the Gibson logo is engraved on the enlarged, white truss rod cover. The neck profile is carved to the fast but comfortable shape of Kirk’s own guitar, and like many Flying Vs from the ’70s, it has a relatively narrow width of 1.562” at the nut, widening to 1.975” at the 12th fret. A luscious black Ebony finish is hand-sprayed in genuine nitrocellulose lacquer, then hand-aged to mirror the appearance of this legendary guitarist’s own instrument.
The Kirk Hammett Flying V is powered by Kirk’s choice of an EMG™ 81® in the bridge position and an EMG™ H® in the neck position. These scorching active pickups yield sizzling lead tones and thick, rich, bluesy tones, respectively, all with unprecedented sustain and clarity. They are routed through the ’70s Flying V’s complement of two independent volume controls and a single master tone, with traditional three-way switch for pickup selection. The chromed hardware is all aged to match the wear of Kirk’s own treasured Flying V, and includes a modified tune-o-matic-style bridge (using Stars Guitars engineering, with permission) with stopbar tailpiece, and Schaller™ M6® tuners. Each guitar comes protected in a red fur-lined Custom Shop case and includes a leather-bound Certificate of Authenticity, related care and adjustment literature, and is covered by Gibson Custom’s Limited Lifetime Warranty and 24/7/365 Customer Service.
Act now to reserve your Kirk Hammett Flying V at your authorized Gibson dealer. Only 150 guitars in total will be made available—50 aged and signed by the artist, 100 aged—and they are bound to go fast.
Dean achieved its finest hour when ZZ Top recorded their landmark Eliminator album in 1983 using Dean guitars, among others. The album’s seemingly endless flow of brilliant singles was supported by legendary promo videos – the perfect showcase for Dean’s penchant for reworking classic Gibson styling into aggressive new shapes.
The Dean story is an interesting one: Dean Zelinsky began building guitars in his native Chicago at a very young age and launched his own company at the tender age of 19, becoming very successful by his early 20’s. After peaking spectacularly during the early 1980’s, changing fashions left Dean guitars somewhat adrift, but it’s great to see them now fully revitalised, with Dean Zelinsky back at the helm.
BODY AND NECK
Dean still produces a small number of instruments in the USA, but the majority of today’s guitars come from the Far East, and both guitars reviewed here represent the Korean-made branch of the family tree. The ML is the most visually stunning of the pair and could easily be construed as the result of an illicit back-stage liaison between a Gibson Explorer and a late ‘Fifties Gibson Flying V The sunburst finish flame maple top is a veneer surrounded by aged-looking cream binding, concealing the join between the top and the main portion of the ML’s mahogany body. With a maximum depth of 36mm (1.7/16 inches), fractionally slimmer than a Gibson Explorer’s 38mm (1.5i nches), the ML duly feels amazingly light and agile, inheriting the Explorer’s easy balance once worn in the playing position.
The glued-in mahogany neck feels very different from a typical Gibson; using a very shallow and ultra-fast ‘D’ profile with a fairly flat 12-inch fingerboard radius that players with smaller hands will probably enjoy if bulkier vintage necks are a struggle.
The large inverted ‘V’ headstock is one of Dean’s most recognisable trademarks, and the strings are widely splayed before they meet the chrome plated kidney-button Grover machineheads. This distinctive feature also crops up on the Dean V and to my mind it looks much better; probably due to the way it mirrors and compliments the guitar’s body-shape. Again we find a slim mahogany body, this time finished in a searing white with black binding on the fingerboard and the body’s upper edge. This white-on-black finish dates from Dean’s original 1979 catalogue and is part of a whole group of colours resurrected from the period to help evoke the spirit of Dean’s heyday. In common with the ML, the V’s 22-fret rosewood fingerboard is trimmed with edge binding (black in this instance) and the fret ends are neatly profiled with no annoying traces of binding hanging on at the edges.
HARDWARE & PARTS
Dean ML79 GuitarBoth of these guitars share a similar choice of hardware, with an obvious nod towards Dean Zelinsky’s admiration for vintage Gibsons.
The strings load through the rear of the body and pass through a distinctive V-shaped steel plate before resting on a standard tune-o-matic style bridge. The strings have a fairly steep break angle where they meet the bridge saddles, which – besides guaranteeing less chance of strings jumping off the saddles under heavy picking – transmits better string vibration to the thin mahogany body, thus aiding sustain.
Both open-coiled zebra humbucking pickups are linked to a regular three way pickup selector toggle switch, which is wired for bridge only / both pickups simultaneously / neck only operation; a tried and tested formula that remains surprisingly versatile by today’s standards.
The trio of rotary knobs running down the lower body wing on each guitar consists of two volume controls and a master tone at the bottom. The first volume pot controls the neck pickups’ output while the middle knob takes care of the bridge pickup, allowing dramatic level jumps for soloing if the volumes are balanced accordingly.
Dean 1979 Series V LowdownGiven both guitars’ close similarities in construction and design, you might assume that choosing between either guitar will hinge more on aesthetic choice than any truly critical tonal differences. It ain’t necessarily so…
The ML’s maple top definitely adds a touch of sheen to the mahogany body’s bassier thud. It also benefits from an extra bit of timber in the form the lower bout, and combined with maple top, this appears to give ML an edge in terms of overall clarity and projection.
The V sounds tighter and less strident strummed acoustically but my ears it has the edge when plugged in, sounding warmer and re even than the somewhat edgy-sounding ML.
Perhaps players demanding a shade more flexibility might find themselves warming to the ML. The maple top’s shimmery treble finitely seems to have a positive effect on the guitar’s dynamic range, slightly boosting the treble and upper mids, but these subtle differences aren’t so discernible in e midst of a howling maelstrom of band at full-tilt.
Certainly the V is no slacker when it comes to the live fray; a weekend’s gigging proved it to be a surprisingly able and versatile guitar. Why surprising? Well; the clean sounds are brisk and cutting with a pleasing warmth compared to the thin, cold tone of a couple of Flying Vs I have owned previously. That distinctive, slightly honking midrange is still evident but this helps add punch to the delivery when whacked through an overdriven amp, ‘Schenkering up’ with the sharp and yet creamy signature tone that characterises the very best from a really good V
A few years ago, both of the Guitars would probably have been greeted with howls of derision, but now that hard rock and metal are cool again, those with a flair for dramatic-looking Guitars can enjoy sticking a V-shaped headstock up at their critics. Both these Deans look and sound great – there’s something about strapping one of these babies around your neck that includes the most amazing behaviour from even the most conservative of Guitarists. Feet previously rooted to the floor now itch to find a monitor to rest on, hips thrust forward and lips pout in the time-honoured style of lam rock’s finest. Joking aside, these are both excellent-sounding and easy playing rock Guitars that deserve a second look among a host of Strat-clones.