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Up for sale, a 1993 Fernandes FV-105RR Randy Rhoads Flying V in collector-grade, 100% original condition and in perfect working order, complete with the original gigbag. This Japanese-made, “lawsuit”-era guitar is a faithful recreation of Randy Rhoads’ iconic V which was custom-built for him in 1979 by Los Angeles luthier/guitarist Karl Sandoval. Released as part of Fernandes’ Musician’s Series, this V features a number of very accurate touches including the polka dot finish, pickup complement, jagged headstock, “bowtie” fretboard inlay, Fender-style tremolo, and control configuration.
The instrument features set neck construction with a mahogany body and maple neck, yielding ample natural resonance and sustain, and the pickup complement (just like on Rhoads’ original) consists of a PAF-style humbucker in the neck position and a high-power humbucker designed after the DiMarzio Super Distortion at the bridge. The SH-1 PAF-style humbucker meters in the higher end of the PAF range at 8.1k ohms, delivering harmonically-rich, warm tones with sweet trebles and just enough midrange presence to ensure optimal clarity and articulation. The Super Distortion-style VH-2 meters at 11.4k ohms, offering monstrous, bold tones with thick, boosted mids, big lows, and fat highs, taking gain notably well for screaming solos and chunky chords. This RV-105RR weighs 7lbs 9oz, professionally setup here at Mike & Mike’s Guitar Bar with 10-46 strings, slinky action, and spot-on intonation.
The maple neck has a medium depth, fast-feeling D-shaped carve (yet another feature pulled directly from Rhoads’ Sandoval), measuring .830” deep at the 1st fret and .915” at the 12th. The dark rosewood fretboard has a 12” radius, with distinctive “bowtie” inlay and immaculate slender fretwire. This guitar plays cleanly up the 25 1/2“ scale with a straight neck and a responsive, optimally-adjusted truss rod, and the original carved bone nut measures 1.650“ in width. On the jagged polka dot headstock, the Gotoh tuning machines turn smoothly and hold accurate pitch.
All of the electronics function as intended; the humbuckers are wired to the stock harness with untouched solder joints and Japanese pots dating to February, 1993. The serialized label is present in the neck pickup cavity. The control configuration comprises independent Volume and Tone knobs for each humbucker and a three-way selector toggle located on the bass-side body point, as requested of Sandoval by Rhoads, with the output jack also relocated to the bass-side point. The Fender-style tremolo actuates smoothly and bounces quickly back to pitch, with just a light speckling of patina on the chrome-plated bridge base and block saddles. Plastics comprise the cream switch tip and the quartet of black speed knobs.
The iconic Polka Dot finish is yet another hyper-accurate recreation, with 3/4“ dots spaced evenly across the entirety of the instrument. This is a very well-kept example, with cosmetic wear limited to some faint buckle worming on the back, largely limited to the trem cavity cover, a small scuff on the treble-side body point, and just a few light marks on the body as a whole. The smooth gloss on the neck profile is flawless.
The original faux leather form-fit gigbag is included.
The instrument features set neck construction with a mahogany body and maple neck, yielding ample natural resonance and sustain, and the pickup complement (just like on Rhoads’ original) consists of a PAF-style humbucker in the neck position and a high-power humbucker designed after the DiMarzio Super Distortion at the bridge. The SH-1 PAF-style humbucker meters in the higher end of the PAF range at 8.1k ohms, delivering harmonically-rich, warm tones with sweet trebles and just enough midrange presence to ensure optimal clarity and articulation. The Super Distortion-style VH-2 meters at 11.4k ohms, offering monstrous, bold tones with thick, boosted mids, big lows, and fat highs, taking gain notably well for screaming solos and chunky chords. This RV-105RR weighs 7lbs 9oz, professionally setup here at Mike & Mike’s Guitar Bar with 10-46 strings, slinky action, and spot-on intonation.
The maple neck has a medium depth, fast-feeling D-shaped carve (yet another feature pulled directly from Rhoads’ Sandoval), measuring .830” deep at the 1st fret and .915” at the 12th. The dark rosewood fretboard has a 12” radius, with distinctive “bowtie” inlay and immaculate slender fretwire. This guitar plays cleanly up the 25 1/2“ scale with a straight neck and a responsive, optimally-adjusted truss rod, and the original carved bone nut measures 1.650“ in width. On the jagged polka dot headstock, the Gotoh tuning machines turn smoothly and hold accurate pitch.
All of the electronics function as intended; the humbuckers are wired to the stock harness with untouched solder joints and Japanese pots dating to February, 1993. The serialized label is present in the neck pickup cavity. The control configuration comprises independent Volume and Tone knobs for each humbucker and a three-way selector toggle located on the bass-side body point, as requested of Sandoval by Rhoads, with the output jack also relocated to the bass-side point. The Fender-style tremolo actuates smoothly and bounces quickly back to pitch, with just a light speckling of patina on the chrome-plated bridge base and block saddles. Plastics comprise the cream switch tip and the quartet of black speed knobs.
The iconic Polka Dot finish is yet another hyper-accurate recreation, with 3/4“ dots spaced evenly across the entirety of the instrument. This is a very well-kept example, with cosmetic wear limited to some faint buckle worming on the back, largely limited to the trem cavity cover, a small scuff on the treble-side body point, and just a few light marks on the body as a whole. The smooth gloss on the neck profile is flawless.
The original faux leather form-fit gigbag is included.
