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'72RI Thinline and Robert Quine's old MIJ 50's RI, that he modded with Rio Grande pickups.
Highest position on Explore: 10 on Monday, June 23, 2008
Raw file processed with Capture One
NIK Dfine 2.0, Color Efex Pro 4, Viveza 2
(selective frequency separation)
Taken with a Sigma 50 mm f/1.4 EX DG HSM AF Lens
After the concert — that quiet moment when everything cools down.
I used a diffused flash from the left and created the atmosphere with a fog machine.
One logo was removed to keep the focus on mood and texture rather than brand identity.
I wanted it to feel more like a scene than product photography.
A replica of Peter Green's 1959 "honeyburst" Les Paul Standard, with magnetically out-of-phase pickups, duplicating his "magic" sound.
A replica of Peter Green's 1959 "honeyburst" Les Paul Standard, with magnetically out-of-phase pickups, duplicating his "magic" sound.
Sitting on a Mackie SA-1521 2-way 500 watt powered speaker is a very portable live sound rack. On the top 10 rack spaces is a Mackie 1642 VLZ3, on the front 6 I have a Furman power conditioner, Digitech TSR-24 and Studio Quad 2 processors, Alesis Midiverb 4, and dbx AFS-224 and Sabine FX-1802 feedback eliminators; all connected together with balanced lines!
This image offers a crisp, head-on view of MIKI GAKKI BASS SIDE, a specialty bass guitar shop located in the heart of Osaka’s Amerikamura (American Village) district—Japan’s mecca for musicians and gearheads alike. With gleaming glass doors and a brightly lit showroom, the entrance to this bass-only annex beckons to players of all levels, from casual enthusiasts to seasoned professionals.
Inside, a stunning lineup of bass guitars in every imaginable color and configuration hangs in orderly rows, creating a visual rhythm that mirrors the music these instruments are designed to produce. The reflected lighting and spotless floors speak to the shop’s modern, premium feel, while its highly curated inventory makes it a destination shop for low-end lovers across Japan and beyond.
MIKI GAKKI, one of Japan’s most legendary music retailers since 1825, is known for its elite service and expansive product range. The BASS SIDE location continues that tradition with a focused dedication to electric basses, amps, accessories, and boutique brands. Posters in the window announce promotions, gear buybacks, and shop hours (12:00–20:00), reinforcing this shop’s reputation as both a showroom and a community hub for serious musicians.
Even the corridor leading to the shop adds to the sense of anticipation—with clean architecture, quiet lighting, and an invitingly wide-open approach that frames the shop like a stage. Whether you’re in the market for a rare custom bass or simply want to bask in the glow of expertly displayed instruments, MIKI GAKKI BASS SIDE is a must-visit stop on any music-lover’s Osaka itinerary.
A replica of Peter Green's 1959 "honeyburst" Les Paul Standard, with magnetically out-of-phase pickups, duplicating his "magic" sound.
This immersive image offers a dreamlike view inside MIKI GAKKI BASS SIDE—a specialty bass guitar store in Osaka’s Amerikamura district, renowned among musicians for its wall-to-wall inventory of top-tier basses. The photo captures an entire section of the store’s display, showcasing multiple rows of Fender Jazz and Precision-style bass guitars, expertly arranged and ready to be played.
The instruments span a spectrum of finishes—from classic sunburst and glossy black to candy apple red and arctic white—each hanging with a tag detailing specs, pricing, and model names. Prominently featured in the front row are Fender Player Jazz Basses, known for their blend of affordability, playability, and iconic tone. With prices hovering around ¥86,900, this lineup appeals to both entry-level musicians and intermediate players looking to upgrade.
The carefully lit, wood-floored interior enhances the showroom effect, allowing each guitar’s details to shine—from tortoiseshell pickguards and maple necks to active electronics and custom pickups. The setting is not just a retail environment; it’s a bass-lover’s paradise, where each instrument is treated with reverence and care.
The presentation emphasizes Japan’s culture of precision and curation, and MIKI GAKKI’s reputation for offering world-class instruments in pristine condition is clearly on display. Whether you're a touring bassist, a gear collector, or simply a fan of beautiful instruments, this visual feast of finishes and forms captures the essence of a flagship music retailer dedicated entirely to the low end.
A stunning, close-up view of the body of the Fender Adam Clayton Signature Jazz Bass, a model inspired by the legendary U2 bassist. This four-string electric bass features a highly recognizable metallic finish, often described as Sherwood Green or a similar teal/seafoam tone, paired with an eye-catching white pearloid pickguard. The chrome hardware, including the control plate and high-mass bridge, beautifully contrasts with the deep metallic lacquer.
Below the strings, the black single-coil pickups hint at the punchy, versatile tone that has made the J-Bass a studio and stage staple for decades. The overall aesthetic is one of professional elegance and rock history, appealing to both U2 fans and bassists seeking an instrument with stellar looks, reliable build quality, and articulate J-Bass tone straight out of the box.
Set against velvet black drapery and glowing under a warm spotlight, this boutique fretless 6-string bass is a bold statement in modern luthiery. Its flamed maple top radiates with an amber glow, drawing the eye along the sleek contours of a body designed for both ergonomic precision and visual drama. Though the maker’s name isn’t visible, every curve and component whispers “masterbuilt.”
With Bartolini soapbar pickups and a six-knob control setup, this instrument is clearly built for tonal range and player customization. The unlined ebony fretboard offers infinite expressive potential—mwah-rich slides, fluid phrasing, and endless sustain for those who live outside the fretted box.
Architecturally, the design is minimal but deeply intentional. The sweeping lower horn and compact upper bout offer easy access to the upper register without sacrificing balance or comfort. Every edge has been sculpted to flow—this is not just a bass; it's a kinetic sculpture ready to sing.
Flanked by more traditional models in a boutique Tokyo guitar shop, this bass stands out like a piece of modern art in a gallery of classics. Whether it's a rare one-off by a master luthier or part of an ultra-limited run, it commands respect and curiosity. It’s an instrument that makes you want to ask questions—and then stop talking and start playing.
A replica of Peter Green's 1959 "honeyburst" Les Paul Standard, with magnetically out-of-phase pickups, duplicating his "magic" sound.
Here’s a bass that turns heads before you even plug it in—the Fender JMJ Road Worn Mustang Bass in Faded Daphne Blue. This short-scale powerhouse blends vintage aesthetics with modern performance and pays tribute to Justin Meldal-Johnsen, the bassist behind artists like Beck, Nine Inch Nails, and St. Vincent. It’s a modern classic with unmistakable retro flair.
Visually, the bass screams mid-century cool. The body’s offset contours and worn nitrocellulose finish channel Fender’s golden-era craftsmanship from the 1960s. The Daphne Blue color, originally a custom car paint shade from General Motors, became a staple of Fender’s custom colors in the early ‘60s—and this faded, road-worn version adds a ton of character. The light relic treatment gives it the feel of a well-loved vintage instrument that’s spent years on the road, complete with finish checking, dings, and edge wear.
The pickguard, a lush pearloid layer, complements the classic aesthetic, while the rosewood fretboard and vintage-style tuners lock in the retro vibes. The star of the show is the Custom Seymour Duncan® split-coil pickup, delivering punchy, focused tones with a deep, thumpy voice—perfect for indie rock, funk, and lo-fi grooves. Add the short 30” scale, and you get an incredibly playable bass that’s easy on the hands and full of sonic mojo.
Fender’s Mustang Bass was first introduced in 1966 as Leo Fender’s final bass design before selling the company. Its compact size and unique tonal range made it a sleeper hit—until bassists like JMJ revived it for modern audiences.
Whether you're a collector, gigging musician, or tone chaser, the JMJ Mustang blends history, attitude, and playability in one incredibly cool package. It’s not just a bass—it’s a vibe.
This extraordinary electric guitar is a rare blend of music, fine art, and Japanese cultural heritage. Displayed proudly in a Tokyo boutique, this Telecaster-style guitar features a meticulously detailed body graphic inspired by Katsushika Hokusai’s "Thirty-Six Views of Mount Fuji", specifically the lesser-seen “South Wind, Clear Sky” or "Red Fuji" print. The bold gradient from indigo sky to volcanic crimson peaks is rendered with remarkable precision, transforming the guitar into a playable canvas.
While the body retains classic Telecaster hardware and electronics—two single-coil pickups, a control plate with chrome knobs, and a three-saddle bridge—the real showstopper is the custom finish. The wood grain subtly shows through the edges, grounding the art in natural tonewood craftsmanship. The juxtaposition of a centuries-old ukiyo-e masterpiece with a modern electric guitar form speaks volumes about the intersection of tradition and innovation in Japanese design.
This guitar wasn’t mass-produced—it’s likely a limited run or one-off custom model, possibly by Fender Japan or a high-end Japanese luthier specializing in art guitars. Japan has a deep reverence for both fine woodworking and musical instruments, and this piece beautifully reflects that harmony.
Guitars like this are rarely seen outside Japan, and when they are, they tend to become collector’s centerpieces. Whether displayed or played, it’s a conversation piece that merges visual storytelling with tonal versatility.
Perfect for photographers, collectors, or musicians drawn to the fusion of aesthetics and sound, this is more than an instrument—it’s a tribute to Japanese culture through a rock-and-roll lens.
Nestled in the heart of Tokyo's vibrant Shibuya district, the Fender Flagship Store is a haven for music enthusiasts, offering a captivating fusion of modern architecture and rich musical heritage. This glass-walled, multi-level showroom is Fender’s largest flagship store in the world, exuding an aura of sleek sophistication that reflects the brand’s legacy while embracing Tokyo's dynamic urban landscape. Step inside, and you'll be greeted by rows of meticulously displayed guitars and basses, from classics to limited-edition models, all bathed in warm lighting that brings out their unique finishes.
The store’s design is as striking as it is inviting. Fender amplifiers and accessories are thoughtfully arranged, ensuring every type of player, from beginners to pros, finds inspiration. Upstairs, the experience continues with interactive stations where you can explore Fender’s iconic soundscapes, making this not just a retail space but a place to immerse yourself in the world of music. A dedicated service area caters to musicians seeking repairs, customizations, or expert advice.
Beyond the guitars, basses, and amps, Fender’s Tokyo flagship also boasts exclusive merchandise and limited-edition collectibles, making it a must-visit destination for Fender fans and collectors. Whether you’re a musician or simply appreciate fine craftsmanship, this flagship offers a unique insight into Fender's artistry within Tokyo's bustling energy. With its impressive design and unmatched selection, Fender's Tokyo Flagship Store sets the stage for an unforgettable experience for any music lover.
contents of the case. Some serious music's been made with these instuments.
Grant Dermody is an amazing player. This Case was made by Grant's father for his (son's) TOOLS from an old clarinet case, primo recycling job!
Here's the outside of this box of "Tools of Grant Dermodys Trade"
Oh Yeah and if you are a harmonica Player and you do not have his record "Crossing that River" (collaborations with many great artists in"cross-section of styles", all of whom admire Grant, hear him and you will know why) do yourself a favor and get a copy The record is primarily a variety of tunes done as a tribute to
his friend and departed mentor the late great John Jackson.
Update Grant Dermody is on a new Album with North Western acoustic blues artists Orville Johnson & John Miller THE NEW ALBUM is called Deceiving Blues it just came out in early 2006. I hope you get a chance to see any or all these guys they are all amazing artists, and that Grant Dermody totally mesmerizing on the harp.
A detailed, close-up shot showcasing the beautiful body of a premium Moon JJ-4 Electric Bass Guitar. Moon Guitars, known for their exceptional Japanese craftsmanship, created a visually striking instrument here. The body is topped with a highly figured, flamed or quilted maple, often referred to as a 'tiger stripe' finish, giving the wood grain an almost three-dimensional depth and movement. The dark amber, translucent finish allows the natural character of the maple to shine through.
This four-string bass features a classic J-Bass configuration with dual white single-coil pickups, black bridge hardware, and a sleek maple fretboard. The polished chrome control knobs contrast beautifully with the richly patterned wood. Resting artfully on a geometric patterned surface, this image highlights the glossy finish and the professional-grade quality of the build, making it a perfect instrument for discerning bass players and collectors around the world.
Raw file processed with Capture One
NIK Dfine 2.0, Color Efex Pro 4, Viveza 2
(frequency separation, high frequency sharpening)
Taken with a MIR 1b 37mm f 2.8 m42 lens and 12 mm extenson tube
Standard Ash Tele. Wilkinson "ashtray" bridge, w/compensated brass barrels, Kinman noisless Broadcaster set & treble bleed circuit, tone/bypass/0.0047µF "filter" cap, 4 way selector switch, Hip Shot locking tuners (rolled the neck for the fret edges), Switchcraft jack and nickel jack plate.
Taken with a Sony SAL-2470Z 24-70mm f/2.8 Carl Zeiss Vario-Sonnar T* AF SSM lens