Asking for a CITES update

Jez6345789

My main concern would be if the US builder used vintage correct old stock Brazilian seems to loads laying around the US. Then you can move it anywhere out of the US as no permit can be used and lots of US repro builders use old growth brazzie

Jez6345789

I would also make sure the builder has experience of shipping and uses a good shipper he trusts. As order some stuff from the US United States postal service lost it for 6 week handed it to parcel farce who then kept it in customs or should I say in prep for customs for close to 4 weeks.

if you are spending real wedge over 6 k say I would jump a cheap flight and hand collect less hassle.

Whitecat

Jez6345789 said:

My main concern would be if the US builder used vintage correct old stock Brazilian seems to loads laying around the US. Then you can move it anywhere out of the US as no permit can be used and lots of US repro builders use old growth brazzie

Huh? Braz without papers/permits cannot legally be moved across borders no matter how old it is. 

Jez6345789

Bloody autocorrect should of read can't be moved.
thanks for correcting the auto correction.

monoamine

Thanks for the insight guys. Seriously thinking of flying over there to hand collect and bring back. It's a 59 Les Paul replica with all the good stuff including Brazilian rosewood

Whitecat

monoamine said:

Thanks for the insight guys. Seriously thinking of flying over there to hand collect and bring back. It's a 59 Les Paul replica with all the good stuff including Brazilian rosewood

Still illegal of course if it has no CITES passport. Would be at your own risk I guess. 

guitars4you

Whitecat said:

monoamine said:

Thanks for the insight guys. Seriously thinking of flying over there to hand collect and bring back. It's a 59 Les Paul replica with all the good stuff including Brazilian rosewood

Still illegal of course if it has no CITES passport. Would be at your own risk I guess. 

http://guitar-auctions.co.uk/rosewood-cites/

this might help you

danishbacon

In parallel to the discussion, text lifted from George Jone's facebook (Micky Jone's son, MAN band)

After much thought, I’ve made the decision to retire Micky’s 61’ Fender Stratocaster....
As well as it’s historical significance, it’s an incredibly delicate guitar, made with materials that are no longer “permitted”.
Touring it and taking it abroad would be impossible without the appropriate permits, many name players are replacing the necks on vintage guitars to maple in accordance with the laws on transportation, this would not be an option, I would rather it stay in its original state.
A guitar is meant to be played, and it will be, but not in this capacity, I’ll continue to use it for studio and special occasions, with the MAN 50th anniversary around the corner I’m sure it will make an appearance.
I’m very grateful to Jeff Beer and Gary Lewis who did some fabulous work on the 61’, it was in a real state, but with their expertise it looked and sounded better than ever....a huge thankyou to David Mead, Joby Sessions and Jamie Dickson for giving it a lovely write up in Guitarist Magazine where it stood pride of place.
My father put his blood sweat and tears in this Guitar, when you open the case you can smell the sweaty bars and smoky clubs and halls, it was made at a time when care and attention was paid, it really is a work of art and if it stays on the road any longer it will lose that mojo and simply become unusable
This was the Guitar that inspired me to start playing, in August 1993 MAN played the Heineken Festival in Singleton Park. Micky was mid-solo in “C’mon”.
I watched him and thought to myself.....”that’s what I want to do”
Then the power cut-out and the show was over, rock and roll eh! It didn’t matter, I had caught the bug and any chance I had, I picked up that guitar at every opportunity, when I was allowed of course!