Tom Scholz’s reputation as a technological wizard and gear-hound is well deserved, as the Boston guitarist holds enough electronics-related patents to wallpaper his home studio. That being the case, you might surmise the veteran player owns a commensurate number of electric guitars. In fact, nothing could be further from the truth.

“I have only two guitars,” Scholz says. “They’re both old Les Paul Goldtops. I bought them both used, at a time when I didn’t know anything about Les Pauls. Somebody told me that these two guitars were made for only six months—during half of 1968—so there are only a very few in existence. The neck on the guitar is completely different from the neck on every other type of Les Paul. It’s huge. At first I couldn’t play on it at all, and then after finally learning how to play on it, I discovered that there weren’t any others available. But the amazing thing is I found two of them, without knowing that the second one was from 1968 as well, from that six-month period. This happened before the first Boston album was released. I needed a second guitar before we went on the road, so I snatched it up. I bought both guitars for about $300.”

To celebrate the life of Boston lead singer Brad Delp, whose suicide this past March roiled the rock world, Scholz staged a five-hour musical event last month at Boston’s Bank of America Pavilion. Titled “Come Together: A Tribute to Brad Delp,” the event saw past and present Boston personnel—who, historically, have been a contentious bunch —putting aside their differences to pay homage to the much-loved singer. Inevitably, any public appearance by Scholz fuels speculation about future Boston studio albums. Given the guitarist’s legendary perfectionism, it’s doubtful a new release will be forthcoming any time soon.

“Most of what I record, nobody ever hears,” Scholz says. “At least 90 percent of it goes into a box, which now weighs a couple hundred pounds. Basically when I start working on something, all I have are ideas. They just come in a flood, and I try as many of them as I can. Sometimes they’re very simple things—like whether to double-track or triple-track a part. And sometimes it’s more complicated things—like changing lyrics or the melody, or deciding whether or not to use vocal harmonies. Each song takes an awful lot of time.”