Up for sale, a 1980's Fernandes FV-85MS Michael Schenker-style Flying V in excellent, 100% original condition and in perfect working order, complete with the original fitted faux leather gigbag. Commissioned by parent company Fernandes, this Flying V is a rare, Japanese-made iteration of Schenker's iconic two-tone Flying V produced at the Matsumoku factory, identifiable by its lack of a headstock logo, brass nut, and wide dot spacing at the 12th fret. Loaded with a pair of PAF-style humbuckers, the guitar interacts well with high gain, providing plenty of chunk and power for cutting, thick riffs. The guitar has a bold natural projection, and the warmth and midrange qualities of the solid mahogany construction translates well through the pickups. The guitar is featherweight at 6lbs 11oz, professionally setup here at Mike & Mike's Guitar Bar with 10-46 strings, low action, and solid intonation.
The neck has a deep, chunky '50s-style C-shaped profile carve at the nut with round shoulders, quickly filling out with even more substance as you travel up the fretboard, measuring .900" deep at the 1st fret and .999" at the 12th. The dark slab rosewood fretboard features pearl dot inlay and original medium jumbo fretwire which shows only light wear beneath the plain strings on frets 1-7. The guitar plays effortlessly in all registers up the straight neck with an ideally adjusted and responsive truss rod. The scale length is 24 3/4“, and the brass nut measures 1 9/16“ in width, increasing the top end articulation, sustain, and note attack. On the headstock, the original chrome Schaller-style tuners with metal buttons are intact, as well as a two-tone truss rod cover.
All of the electronics function as intended, with the humbucker pair wired to original full-size pots and a Volume/Volume/Tone control configuration. The Gotoh hardware includes the original chrome-plated bridge and stopbar tailpiece which show some surface patina, and the original white plastic Strat-style knobs are present too. The pickguard matches the body's two-tone aesthetics, showing some requisite pick scuffing across the strum path. There is very faint yellowing of the clear coat on the white half of the instrument, and the thin gloss finish allows the grain of the mahogany to very subtly peek through. Cosmetic wear is limited to some faint finish scratches in the clear coat of the gloss and a couple shallow dings, mostly relegated to the back, along with one line of finish checking extending from the Low E mounting screw (purely aesthetic). The gloss finish on the neck profile is flawless.
The original fitted faux leather gigbag is included.