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Mark’s Guitars

I have 60 guitars (this includes Basses and Acoustics), but my main guitars are 2 Parker Fly Deluxe guitars (customized with GK2A midi pickups for my Axon guitar synth and Yamaha Motif rack XS to go along with the magnetic and piezo pickups already on there); a Parker P-36 Tele Style guitar with Chris Kinman 48 Broadcaster Tele pickups in them (I also had nitro cellulose sprayed on the back of the neck by Rick LeGault for a vintage feel); a Parker PM20 Les Paul style guitar with a mahogany body and a figured Bubinga top with Virtual PAF pickup; a Parker P-30 Strat style guitar - antique creme with a pearlized pickguard and Chris Kinman Woodstock plus pickups installed; An Ibanez Artcore AF75TGD guitars with gold hardware (one in Candy Apple Red and one in Piano gloss black) that I had Noll Guitars “Getschify” (my term for turning Ibanez Artcore hollow body guitars into Gretsch guitars) for me (gold Gretsch knobs, volume knob on the lower bout, selector on the upper bout, the original selector turned into a kill switch, and TV Jones “TV Classic” pickups in the Candy Apple Red guitar and TV Jones Magnatron (like the DeArmond single coils in the Duo Jet) in the Black one; An early seventies Univox “Gimme” Les Paul (identical to the one I owned in 1976) that Jim at Noll guitars restored for me. He also installed a Graph tech Ghost system for piezo acoustic sound and midi guitar synth output. As of 2011 the lineup of main guitars has changed. All of them have been modified with Graphtech Ghost MIDI pickups and have been either painted, had neck reshaped or both by Jim at Noll Guitars. They are: The Univox “Ripper” Strat, the Parker Life Saver Red P-30, The Red Artcore with the Ghost MIDI Pickup (and the Candy Apple Red Artcore AF75TGD, without the Ghost pickup), The Purple Epiphone Les Paul, The Univox “Gimme” Les Paul, the Epiphone Wine Red Casino with bigsby (no Ghost pickup) and my two Parker Fly Deluxe guitars as backups. These are what I gig with and record with, for the most part (I also often use the Jeff Beck and the 56 Gold Top Les Pauls to record with). I recently received an Epiphone 50th Anniversary 61 SG that I hope to install a Ghost Pickup in and use as one of the main guitars.

Jim at Noll is an artistic genius and a highly skilled craftsman who, besides buffing and fixing some dings on my 70s Univox “Gimme” Les Paul, restored a badly damage headstock and hand painted part of the logo that was damaged and you can not tell that it was ever damaged. It looks just like the one I owned, in the 1970s, the day it came out of the music store. He has matched and reshaped necks for me. He has painted bodies and refinished necks for me. The work always came out better than new. I can’t say enough about his work. He is the best, period.

Stan (with his knowledge of history and his great stories) does great pickup installation, wiring and setup (we’ve know each other for quite a long time). Steve is great too. He does pickup installation, wiring and setup. And, of course, Ralph is there to help you with anything that you need. If you need any work done on your guitars, especially your vintage babies, these are the guys to go to. I can’t say enough about them and I highly recommend them.

A 70s Univox “Ripper” Strat copy guitar, that Jim at Noll also restored. Jim repainted it white (bright inkjet paper white), potted the pickups, installed the Ghost pickup system and reshaped (to match my Parker P-30), refinished and refretted the neck. A mid 70s Univox Deluxe Les Paul and a Parker P-30 that Jim painted Cherry Life Saver Red (my color idea, I told Jim that I wanted it to look like a Cherry Lifesaver, not Candy Apple Red), sprayed the neck with a nice gloss finish and added a Ghost pickup system to it. It has a pearlized pickguard, maple neck and Gold Lace Sensors in the neck and middle and a Dimarzio Fast Track in the bridge position; A guitar that Noll Built for me from an Aria Pro II maple neck that I had. They added a tropical green Tele body, GFS Lil Puncher pickups and a Pearlized pickgaurd; a wine colored Epiphone Casino that Noll added a Bigsby Tailpiece and had Lindy Frailin install his noiseless P-90s in the Epiphone chrome covers. A Red Parker P-36 Tele style guitar with a Dimarzio Area-T in the neck and a Fast Track-T in the bridge, along with a Ghost system for MIDI. Jim put a nice glossy finish on the neck. An Epiphone Les Paul Classic (that used to be translucent black) that Jim painted Purple Metallic for me and put on custom glitter knobs, selector ring and pickup rings. I also have a new Red Artcore that Jim installed TV Jones TV Classic pickups and a Ghost MIDI system in for me.

My other favorite guitars that I use most for recording, rehearsing and performing are: a 1972 Gibson Les Paul Custom, an Epiphone honeyburst Les Paul Standard with Virtual PAFs, a Fender 60s Tele with Kinman 60s Telecaster pickups, an eighties Japanese reissue 1957 Fender Stratocaster (Candy Apple Red) with Seymour Duncan Vintage Rails and a GFS Lil Killer in the bridge position, an Epiphone cherry red Dot (ES335), an Epiphone G-400 Custom (Three pickup Les Paul/SG Custom), an Epiphone ‘66 G-400 SG with Seymour Duncan Phat Cat Humbucker size retrofit P-90 pickups, an Epiphone Limited Edition G-400 “Goldtop“ SG and an Epiphone ‘56 Goldtop Les Paul with P-90s, an ebony Epiphone Classic Les Paul, a Gibson SG Junior and a Gibson Violet Burst SG Goddess, Three different early 90s Yamaha Pacifica guitars (Royal Blue 921 with lace sensors and an Virtual PAF bridge humbucker , Yellow 1221M with a Virtual PAF neck-a class of 55 middle- and a Virtual PAF bridge pickup, and a Red Glitter 1230S with two Q100 P-90 style pickups and a Virtual PAF bridge humbucker), A White Brian May Signature Guitar and a Dillion Brian May Guitar with three Burns Tri-Sonic Pickups, two Ibanez Artcore AFS75T guitars (an electric blue with stock pickups and a turquoise one that Noll installed TV Jones version of the Gretsch HiLo’tron pickups in it and added a volume to the lower bout to make it sound and play like a Gretsch Tennessean) and a Gretsch reissue of the 6122 called The Country Classic (the guitar that George Harrison used on The Ed Sullivan Show in Feb. of 1964). An Epiphone 1954 Oxblood Les Paul (Jeff Beck Model) and an Epiphone 50th anniversary 1960 ltd. edition Les Paul.

As of  late 2012, I am using Xaviere guitars and they have become sme of my favorites. I can't believe the quality and playability vs price. These guitars ROCK!

Especially the XV-890 dual humbucker in sunburst (which, along with my Honeyburst Epiphone Les Paul Standard Plus Top Pro, have become my two favorite guitars) and the XV-890 HSS, in purple, with a Ghost System installed by Jim at Noll. I also own an amber XV-900 (ES-335 style), in which I had Dream 180 pickups installed, and a Cherryburst XV-510 Carved Top Quilted maple (Les Paul style).

I also use an Epiphone 1966 reissue Wilshire, in which I had GFS Liverpool pickups installed. Great raw rock sound. Very Pete Townshend (Pete used a Grestch with filtertron pickups on Who's next and Quadraphenia, but it is a bit wild using this hollowbody live with a big rig; using these filtertron based pickups with the solid body Wilshire, does the trick...kind of a cross between an SG and a Grestch).

My very good friend and student, Jon, bought me a Martin Custom acoustic guitar. He put in a bone bridge, bone pins, upgraded pickguard and adjusted the action for me. This is now my go to acoustic


Gibson SG Jr., Gibson SG Goddess, Brian May Signature Guitar, Epiphone Les Paul Classic and an Ibanez Artcore that has been modified to sound (and look) like a Gretsch Tennessean (TV Jones Gretsch HiLo'Tron pickups and master volume pot on the bout)

univix guitars

My 70s Univox guitars

Artcores, Epiphone

My two "Gretschified" Artcores (the candy apple red with the TV Jones TV Classic Filtertron pickups and the Black one with the TV Jones Magnatron pickups; and my Epiphone Casino with custom fitted Lindy Frailin noiseless P-90s and a Bigsby)

parker tele

My Red Life Saver Parker P-30 and my Noll customized Tele with the Aria Pro II neck

epiphonesEpiphone 1954 Oxblood "Jeff Beck" Les Paul and
Epiphone Limited Edition 50th Anniversary 1960 Les Paul Standard, Cherry Sunburst, V3 neck

Purple Les Paul

Click to enlarge and see the sparkly detail

Epiphone Classic Les Paul. Custom purple paint job, glitter knobs, glitter pickup rings, glitter pickup selector ring, Ghost MIDI System and electronics (vintage style caps and pots) by Jim at Noll guitars.



Parker P-36 with Dimarzio pickups, Ghost MIDI system and custom neck finish by Jim at Noll Guitars/ Ibanez Artcore AFS75T RD With TV Jones TV Classic pickups and Ghost MIDI system installed by Jim at Noll Guitars



Xaviere X-900, X-890 HSS, X-890 dual humbucker

Epiphones 2

Epiphone 1966 reissue Wilshire with GFS Liverpool pickups and Epiphone 50th Anniversary 61 SG

Xaviere Martin

Xaviere XV-510 and Martin Custom

Honeyburst Epiphone Les Paul Standard Plus Top Pro



Acoustic Guitars
Fender 12 string, 70s Epiphone Texan and a 70s Epiphone 12 string


Peavey RSB Bass, Custom Bass (Epiphone Precision Bass body, Fender hardware, Fender Vintage '62 Precision Bass Pickup and an Allparts 70's Fender Jazz Bass neck - Geddy Lee Style), Jay Turser Hofner Style Violin Bass and an early 60s Hofner Club Bass

Ibanez Soundgear SR-500

Ibanez GSR200 with Fender Vintage 62 Precision Bass pickup and DiMarzio Ultra Jazz pickup

Pedalboards 2014

 Mark’s Rig

I just had a new pedalboard made for me (mid 2014) by Mike at NYC Pedalboards. Here's the flow:
My signal goes into a Love Pedal line driver (before my wah, but after my treble booster so that the line driver doesn't interfere with the treble booster loading my pickups) into a pedal Racks true bypass switch with eight loops (Either directly or using a Line6 wireless). Loop 1- A Fryer Brian May Treble Booster Plus (I also still use for recording: a Fryer Brian May Touring Treble Booster, an Electrolead RSB Treble Booster and a Crispy Cream treble booster- all GREAT pedals-to drive my tube amps when recording); Loop2- a Crybaby Classic Wah Wah pedal with the Fasal inductor (for recording I also use a Geoffrey Teese Wheels of Fire Wah-Wah pedal); Loop 3- a Pro Analog MkIII Fuzztone (a recreation of the Sola Sound Tonebender that Page used on the first two Zeppelin albums); Loop 4- a Fulltone 69 Pedal (a recreation of the Roger Mayer modified Dallas Arbiter Fuzz Face that Jimi Hendrix used); Loop 5- a Line 6 distortion modeler, Ibanez Steve Vai Distortion Pedal and a JHS Superbolt Pedal; Loop 6- a Celestial Aquarius Fuzz, which I absolutely LOVE (this replaced my Electro-Harmonix Little Big Muff and American Woman pedals); Loop 7- An EH Nano Clone into an EH Nano Small Stone into an EH Nano Electric Mistress, with the small stone on and the option to turn the others on and off at will (these replaced my Foxx Foot Phaser Pedal); Loop 8- an Electro-Harmonix Iron Lung Vocoder; out of the true bypass into a Line 6 Vetta HD 300 watt Head (upgraded to Vetta II 2.5), on top of two AB Custom (made by Jesus from AB Custom Audio in California - all four cabs have white piping around the grille cloth and gold piping on the black bronco covering) open back 2x12 cabs loaded with four Line 6 Celestion G12H-90 speakers , sitting on top of two AB Custom 4x12 cabinets (Bronco Black with Wheat grill cloth) loaded with 4 Eminence Patriot Screaming Eagles (left Cabinet) and 4 Eminence Red Coat Wizards (Right Cabinet) so that one amp model (lets say a Fender 1953 tweed deluxe) comes out of the left 2x12 open back cab with the Celestions and the left 4x12 cab with the Screaming Eagles in it (giving a definite American vibe); and the other amp model (Let's say a 1969 Marshall Plexi with a Variax on it) comes out of the right 2x12 open back cab with the Celestions and the right 4x12 cab with the Wizards in it in it (giving it a British Classic Rock Vibe). My Parker Fly piezo pickups and Graph Tech piezo pickups, Roland GR-55 guitar synth, Boss Gp-10, Axon MkII guitar synth triggering my Yamaha Motif Rack XS, effects from the Vetta, effects from my rack (Behringer V-Verb Pro running at 96K) go into a Behringer Eurorack line mixer and that goes into two M-Audio GSR12 powered PA Speakers (which are on stands about five and a half feet in the air on the extreme left and right of the 4x12 guitar speaker cabinets).

Amps 2013

This gives me two dry amp models at a time (one to each set of two 4x12 cabinets) and all the pedal effects are coming out of the guitar speakers, and all the delays and reverbs are coming out of the Left and right PA speakers in stereo. So, the effects are very clean and pristine, simulating actual reverbs and echoes bouncing off the walls on either side of the room, while the amps can be down and dirty. I'm a Heil microphone endorser and I mic my two 2x12 cabs with two PR40s into a modded (JJ Audio) DMP3 mic pre and the two 4x12s with two PR30s into two Classic API VP26 mic pres (recreation of the mic pres in the 70s API consoles) built by Custom Analog Services and for live shows and rehearsal I use a PR35 for my vocal mic (I also have two SM57 mics modded by Mercenary audio with Tabfunkenwerks transformers, two SM27 condenser mics and two C1 condensers modded by JJ Audio, but always seem to go back to the Heils...they just sound right)


Current rack set up


Small Gig Rig

Mini Jamming Rig

For recording or use with Mini Jamming Rig


I use two PR30 and two PR40 microphones from Heil Sound to mic my rig. I also have another PR30 that I move around to mic various tube amps or Acoustic Guitars when I record. I can't say enough about these mics. They have replaced my condenser and ribbon mics when I'm recording guitars. If you are a guitar player and you care about your sound, you need these mics. they require little, if any, EQ and they really reproduce the energy of your sound.


Roland XV-88



Pintech tom pads (8', 10" and 12"), A Hart Snare pad and a Roland Kick pad going into a Roland TD-8 V-Drum module running BFD-2 Software in Cubase 7. Sabian, Paiste and Zildjian cymbals.

Overheads at the moment are Shure SM27s, Rode NT5 for ride and Audix F15 for hi hat. I switch from time to time and sometimes use Cascade Vinjets and have used dynamics like Audix i5s and Shure sm57s (Geoff Emmerich used AKG D19 dynamics on almost all of the Beatles records that he engineered)


Amps Bongos

Fender 4x10 cab with new super champ, Line 6 Vetta combo with two Lopoline 2x12 cabs, Ashdown bass rig, two Line 6 DT50 heads on top of two Lopoline 4x12 cabs with Celestion G12H-90 abd Eminence Governors run by Line 6 POD HD500

  vox pedals

Vox AC30 Custom Classic

Great pedals that have been on and off my pedal board and are now used strictly for recording


" Spider Valve on top of a Peavey ValveKing 4x12 cab with Eminence Governors and Texas Heat.

The ValveKing is being mic'd by a Heil PR30. This mic ROCKS!!!
I also use two PR30s and Two PR40s to mic my main rig.

I use the Pedalboard with the Spider Valve. It has a line 6 Shortboard to control the Spider Valve, a VHT Valvulater, a Crispy Cream treble booster, a Crybaby with the Fasel inductor, a Hop Hed Fuzz (Sola Sound Tonebender clone), MXR Phase 90 and a CE 5 Chorus pedal."


Vox Fender

Fender Hot Rod Deluxe III and Vox Valvetronix VT-40 in front of my Line 6 Spider Valve

Keyboard 2

Yamaha -SY85 and Roland JX3P




November 2012 view of Mark's guitars and main recording/performing rig

  Mark's Studio