Her fluidly picked Fender bass lines have propelled classic songs by the Beach Boys, Simon & Garfunkel, Joe Cocker, Frank Sinatra (and his daughter Nancy), Ray Charles, Lou Rawls, Glen Campbell, Barbra Streisand, Sonny & Cher, and the Monkees, to name just a few.
If you want something done right, don’t just do it yourself—hire a professional. That was the prevailing mindset among record producers back in the early ’60s, especially when it came to making hits. From the Brill Building to Motown to Hollywood, pop music in America had reached a fever pitch by the time the Beatles crossed the pond, and the pressure was always on to keep delivering the goods. Sam Cooke’s soulful gravity, Diana Ross’ diva allure, or Phil Spector’s Wall of Sound could easily spark a hit in those days, but a song’s success hinged just as much on the writers and session musicians who worked tirelessly behind the scenes.
So who got these gigs, anyway? For most recording dates, the first call was reserved for players who had established reputations for being reliable, versatile, and rock-solid on their chosen instrument. And if you were first call in Los Angeles, that probably meant you were part of “The Clique”—a loose collective of a few dozen young, hungry jazz heads from the city’s thriving nightclub scene that was later dubbed “the Wrecking Crew” by drummer Hal Blaine.
Carol Kaye was one of those up-and comers, and while for some it might be a bit of a stretch to call her a forgotten hero of the West Coast’s studio heyday, she’s certainly long overdue for wider recognition. Her fluidly picked Fender bass lines have propelled classic songs by the Beach Boys, Simon & Garfunkel, Joe Cocker, Frank Sinatra (and his daughter Nancy), Ray Charles, Lou Rawls, Glen Campbell, Barbra Streisand, Sonny & Cher, and the Monkees, to name just a few. In the ’60s and ’70s, Kaye was also the go-to bassist for numerous record producers and film score composers, including Quincy Jones, Michel Legrand, Phil Spector, Lalo Schifrin, David Axelrod, Jerry Goldsmith, Henry Mancini, Billy Goldenberg, and way too many more to mention here. She has played on literally thousands of studio dates, and that’s without even counting her years of work on guitar—which is how she got her start in 1957, on a session for Sam Cooke. At the time, she was barely 21 years old.
“Most of the producers in the ’50s went out to jazz clubs,” Kaye recalls today. “Some of them were even jazz players themselves, like Bumps Blackwell. He was a very fine vibes player, and he managed Little Richard and he was producing Sam Cooke. I was playing guitar with the Teddy Edwards’ jazz group—Ornette Coleman used to sit in with us sometimes, because Billy Higgins was the drummer. Bumps heard me playing, and he needed a guitar player to step in for René Hall, to play some fills in back of Sam Cooke, so he asked me if I wanted the job. Teddy and Billy knew Bumps, so I took him up on it because I needed the money. I remember on the way to the date, I heard ‘You Send Me’ on the radio. That prepared me for what was coming.”
Learning from “the Hatch”
Born in 1935 in Everett, Washington, Kaye grew up in a musical household: Her father was a touring trombonist with jazz big bands, while her mother played piano professionally. In 1942, the family moved to Wilmington, California. Four years later, Kaye’s parents split up, but her mother could see that 11-year-old Carol was musically inclined, so she bought her a $10 guitar. It wasn’t long before a friend of Kaye’s suggested she look up the “hottest” guitarist in nearby Long Beach—an experienced teacher named Horace Hatchett—for some lessons. Kaye had a natural aptitude for the instrument, and within a few months, she was helping “Hatch” teach some of his other students.
Kaye’s apprenticeship gave her a solid foundation in jazz rudiments, from Charlie Christian to Django Reinhardt. By 14, she was playing semi-pro jazz gigs and had saved up enough through her work with Hatchett to buy a Gibson Super 400, which she outfitted with a DeArmond pickup for live gigs (evidence indicates she likely used a Gibson GA-20 amplifier). When Bumps Blackwell found her several years later, she was playing an Epiphone Emperor, which she brought with her to the Sam Cooke session.
Needless to say, it was unusual for a woman to be sitting elbow-to-elbow with seasoned studio musicians in what was widely accepted as a “man’s game” in the late ’50s. “In my day, there were few who could really cut it,” Kaye told MEOW (Musicians for Equal Opportunities for Women) online last year, “and we were very welcome. Most of us had learned early on to treat the men nice and fair, and how to handle some of the obvious put-downs. Usually we handled it with tart humor, giving it back to them. And if all else failed, then we just picked up our horns and blew them away with music.”
Kaye’s first studio date with Cooke, which yielded a steamy reworking of Gershwin’s “Summertime” (the eventual B-side of “You Send Me”), brought her a wave of subsequent dates on guitar. Cooke had been signed to Keen Records, which employed Bob Keane as an A&R man. Keane later discovered and managed Ritchie Valens, who recorded “La Bamba” in 1958 with a backing group that featured Kaye on acoustic guitar, Valens on electric rhythm, René Hall on lead guitar, Bill Pitman on bass, and Earl Palmer on drums. “La Bamba” was one of Kaye’s first sessions with Palmer, and it sealed a lifelong friendship between the two.
“La Bamba” was also tracked at Gold Star Studios in Hollywood—one of a ring of independent studios (including Western Recorders and Sunset Sound) that was churning out hits in the late ’50s and early ’60s. As it happened, Phil Spector had taken up de facto residence at Gold Star, and by 1961 he was regularly booking studio time and working with a number of different vocal groups, including the Crystals, Bob B. Soxx & the Blue Jeans, the Paris Sisters, and more. Kaye played guitar—sometimes the Epiphone, sometimes a Gibson 12-string, and later, a Fender Jazzmaster—on many of these sessions, including the 1962 Blue Jeans hit “Zip-a-Dee-Doo-Dah” and the Crystals’ classic “Then He Kissed Me.” But her profile kicked into high gear on the Spector-produced sides for the Righteous Brothers, which included “You’ve Lost That Lovin’ Feelin’,” released in 1964. Kaye’s acoustic guitar part stands out prominently against Bill Medley’s lead vocal, revealing the essence of her style—a solid, steady rhythm accentuated by individually picked notes articulated with clarity and precision.
Bass Is the Place
By this time, Kaye was part of an elite and loosely connected group of guns for hire—accomplished jazz musicians who were suddenly making a career out of playing pop, rock, and R&B. And then one day in 1963, she showed up for a session at Capitol Studios that changed everything.
“At that point, I’d been hired on guitar for five years,” she says. “I never even thought I’d ever play bass. That thought just never occurred to me, but on that day, the bass player didn’t show up, so they put me on bass and I found that I liked it immediately. I saw the potential for it, because I realized then that a lot of the hit records depended upon the role of the bass. And it was much more fun to invent on bass than the rinky-dinky guitar stuff that I had to do. It just felt comfortable.”
As she had on guitar, Kaye quickly established a signature sound. The Fender Precision was the favored axe of the day, but it was often supplemented on studio recordings with an upright bass to lend some roundness to the low end, or a Danelectro bass guitar to add a more prominent “click” to a picked bass line. Kaye played with a pick, but eventually she devised a way to cover all three bass sounds, using a combination of tone control and muting.
“Guitar players would use a piece of felt intertwined between the strings and behind the bridge to get a nice sound,” she recalls. “So I noticed right away that I had to do the same thing for electric bass, because the thicker basses had a terrible time with overtones and undertones, which killed the sound. The minute I put the mute on the top of the strings, in front of the bridge— there was no way to get a mute behind the bridge because that was the end of the strings—I noticed the tone immediately. I mean, for 25 cents, you could get the best sound in town [laughs].”
Kaye usually played at low volume in the studio and preferred the sound of guitar amps. She bought two Fender Super Reverbs, one of which would be carted to every studio date before she arrived. Eventually, she went for a smaller enclosure with the Versatone Pan-O-Flex. As she got busier, she rotated three of these for her studio work and kept one at home. For years, she used a sunburst Fender Precision with flatwound strings. She kept the action high, which meant she had to play hard to be heard—no easy feat if you were doing fast left-hand changes or uptempo “boogaloo” lines.
One up-and-coming producer who took note of Kaye’s versatility was future legend Brian Wilson. An avowed fan of Spector’s “Wall of Sound” production style—at Spector’s invitation, he’d even dropped in several times at Gold Star—Wilson wanted to expand the Beach Boys’ established “surf rock” sound into something much more lush and sophisticated. The changes in direction he suggested were destined to sow the first well-documented seeds of dissent within the band, but Wilson forged ahead by hiring outside pros to get the sound he heard in his head. Kaye was among the group of musicians recruited in early 1965 to record backing tracks for Today! and Summer Days (and Summer Nights!!), released in rapid succession that spring and summer.
“Brian was a nice, sharp young kid, and he caught on real fast,” Kaye recalls. “He usually knew what he wanted, and he wrote his own parts—which was very different from other recording dates we did. He was open to the guitars making up some parts, as well as drums, but he wanted me to play his notes on bass, which was fine—he wrote some great parts that fit well with what he intended for the rest of the arrangement.”
Kaye was one of three bassists—the others being Ray Pohlman and Lyle Ritz—whom Wilson would turn to most frequently for sessions throughout 1966 and ’67. On the Beach Boys’ classic Pet Sounds, she became a key anchoring presence, with Wilson pushing her forward in the mix on songs like “Sloop John B” and “Wouldn’t It Be Nice.” By the time Wilson got around to recording tracks for Smile—the grandiose but ultimately ill-fated magnum opus that pushed him into a spiral of self-doubt and seclusion—the sessions were reaching marathon proportions, but Kaye and the other players took it in stride.
“He’d spend three or four hours on one song, whereas usually in a three-hour record date we’d cut four or five tunes,” Kaye told author Mark Dillon for Fifty Sides of the Beach Boys: The Songs That Tell Their Story, published in June. “We played every tune and every take like a hit record. It got a little boring because Brian would change things back and forth all the time. But we stuck it out because we knew what he was doing and we admired him. And that admiration and respect got across to him and helped him to grow and feel safe with us.”
That mutual trust was the driving force behind “Good Vibrations,” the centerpiece of Smile. Cobbled together from multiple dates and takes, the official version contains possibly five different performances on bass. Kaye remembers the descending figure in the opening verse as hers, and she certainly played the song in its entirety on at least one session at Western’s Studio 3.
While Kaye’s work for the Beach Boys alone could cement her place in rock ’n’ roll history, her discography for the 10-year stretch between 1963 and ’73 is so vast that it borders on the superhuman. See the sidebar to the right for some of the more colorful highlights.
The Big Score, the Big Break …
and the Big Payback
On top of her work in rock, pop, and R&B, Kaye was equally in demand for film and television scores—perhaps most famously with Lalo Schifrin, whose Mission: Impossible theme remains an iconic blast of late- ’60s pop culture. She also contributed to Schifrin’s Bullitt soundtrack, including some of the cues that lead up to the film’s iconic car-chase scene. “He wanted me to invent all kinds of notes and double-time,” Kaye recalls with amusement, “and I just looked at him like he was crazy, because the tempo he was asking for was so fast. But I did it, and I just cringe when I hear it because it’s a boogaloo in double-time—I mean, fast.”
Many of the scores being composed in the late ’60s and early ’70s were complex orchestral affairs, and thus perfectly suited for Kaye’s jazz background. With Quincy Jones in particular, there was a musical symbiosis that carried over into the making of 1967’s In the Heat of the Night, for example. On kinetic cues like “Nitty Gritty Time,” Kaye matches the percussive horn hits punch-for-punch, demonstrating an innate sense of knowing when not to play.
“By its content, we knew this was a ‘heavy’ movie, and the music was powerful,” Kaye says. “I played the Fender, but Quincy liked me on the [Maestro] Fuzz-Tone with my Danelectro bass guitar, too. So during the breaks, I’d unplug all the pedals to jam some bebop, and then it was back to the deep emotional music of the film. Quincy is a genius, there’s no doubt about it. He wrote some of the most beautiful themes I’ve ever heard in my life—let alone had the pleasure of playing on.”
Around 1969, Kaye took a brief break from recording to write an instructional book—as a single mother, she had bills to pay, but she also loved spending time with her kids. How to Play the Electric Bass became a trend-setting bible, and eventually led to a whole line of books and videos that Kaye continues to build on. It was a completely different mindset from the coffee-driven routine of playing long hours in the studio, and it may have had something to do with Kaye’s decision, in the early ’70s, to cut back on her freelance hours and commit to some more in-depth collaboration. She recorded and toured with Joe Pass, and then with Hampton Hawes, and was still doing studio dates as late as 1976, when she was sidelined after a car accident.
Kaye kept it up into the ’80s, appearing on J.J. Cale’s Shades in 1981, but the physical toll of her injuries eventually forced her to take a lengthier hiatus from playing and performing. After corrective surgery in 1994, she gradually found her way back to the instrument, and by 1997 she was working with Brian Wilson again—this time on his daughters’ debut The Wilsons. In 1999, Kaye was invited to play on the entirety of Matthew Sweet’s outstanding In Reverse album, which reintroduced her to a ravenous new school of rock, soul, and hip-hop artists. Pixies frontman Frank Black recruited her for his 2006 album Fast Man Raider Man, as did longtime Beastie Boys collaborator Money Mark for 2007’s Brand New by Tomorrow. Both projects reunited Kaye with legendary drummer Jim Keltner—another late-’60s fixture on the Hollywood session scene.
A Legacy of Rocking Steady
One thing that has always distinguished Kaye’s playing, whether she’s digging into a jazz, pop, soul, or rock bass line, is her firm sense of pocket. Above all else, first-call musicians had to be able to hold down a steady rhythm—no click tracks allowed (or even considered, for that matter). It’s a simple but somehow elusive concept that she still imparts to her students, if only because its importance seems to have diminished in the relentlessly programmed experience of making music today.
“For everybody back then, the main consideration was time,” Kaye explains, “especially in the jazz world. Even the finest of drummers—I mean, Billy Higgins practiced with an electric metronome beating on two and four, because when you played jazz, everybody has to be of one mind. With the intertwined thing that goes on, one person’s playing directly affects the others. There’s no such thing as the bass player’s role, or the drummer’s role, or the piano’s role. They’re not separate in jazz, see, but in rock ’n’ roll and fusion they are, and that’s where you have to be prepared. A lot of people today are just into flash, but we were never concerned with that. Music only sounds good when it’s played with the greatest of time, and that’s what we did, absolutely.”
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Designed for utmost comfort and performance, the Vertigo Ultra Bass is Mono’s answer to those who seek the ultimate gigging experience.
Complete with a range of game-changing design features, such as the patent-pending attachable FREERIDE Wheel System, premium water-resistant and reflective materials, shockproof shell structure and improved ergonomic features, the Vertigo Ultra Bass takes gear protection to the next level.
The Vertigo Ultra Bass features:
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The Generation Collection of acoustic guitars features the exclusive Gibson Player Port designed to offer a unique and immersive sonic experience.
The G-Bird, the newest addition to the Generation Collection--represents the glorious legacy of the Gibson Hummingbird colliding with modern sonic enhancement through the Gibson Player Port to add a new dimension to the G-Bird sound. The Gibson Player Port allows players to hear more of themselves as the audience hears it. With a tone that is crisp and resonant, all of the Gibson Generation Collection acoustics are designed to be comfortable to hold and play for long periods of time. All Generation Collection guitars feature the Gibson Player Port, slim, lightweight bodies, a flatter fingerboard radius, Walnut back and sides, Sitka spruce tops, and a stunning Natural finish. Additionally, the new G-Bird, and the G-200 and G-Writer are equipped with LR Baggs™ Element Bronze pickup systems which amplify deep bass and crystal-clear highs.
The G-Bird represents the glorious legacy of the Gibson Hummingbird with modern sonic enhancement through the Gibson Player Port adding a new dimension to the G-Bird’s sound. The G-Bird features a stunning solid Sitka spruce top and solid walnut back and sides for the ultimate in crisp, resonant tone. This square-shoulder dreadnought delivers all the rich low end and well-balanced mids and highs the original Hummingbird is famous for. The TUSQ nut and saddle, along with chrome Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning. The utile neck, with its easy-playing Advanced Response neck profile, is so comfortable you won’t want to put it down. The G-Bird also comes equipped with an LR Baggs Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird also comes equipped with an LR Baggs™ Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird is available in Natural finish. A gig bag is included.
Modeled after Gibson’s pioneering small-body parlor acoustic guitars from the 1930’s, the G-00 is a top choice for blues and fingerstyle guitar performances. Despite its more compact size, the G-00 achieves a full, balanced sound. The G-00 fills any room with rich tones-which players can hear like never before, with the exclusive Gibson Player Port. Like all models in the Gibson Generation Collection, the G-00 is handcrafted in Bozeman, Montana, by the same highly--skilled craftspeople who make all Gibson acoustic guitars. The G-00 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-00 parlor-sized body is exceptionally comfortable to hold and play. The TUSQ nut and saddle along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-00 is available in Natural finish. A gig bag is included.
The G-45, a round-shouldered jumbo, adds the Gibson Player Port to its famous “Workhorse” J-45 style body, which is Gibson’s best-selling acoustic guitar of all time. On the G-45, players can now hear more clearly than ever how this beloved guitar responds to every style and technique of playing. Powerful one moment and soft the next, the G-45 delivers all sounds with incredible dynamic range in an elegant, medium body size. The G-45 is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-45 features a slightly thinner round shoulder body is exceptionally comfortable to hold and play. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-45 is available in Natural finish. A gig bag is included.
Gibson’s impressive range of square-shouldered guitars have become an expressive standard for rock, pop, folk, and country artists. The G-Writer is known for its wide range of sounds, from gutsy and loud, to soft and sweet; they are superb for all styles and shine, whether strumming chords or fingering intricate solos. The G-Writer comes ready for the stage or studio with an LR Baggs Element Bronze pickup system and the ear-opening Gibson Player Port. The G-Writer is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-Writer features a slightly thinner cutaway body, is more comfortable to play and provides effortless access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-Writer is available in Natural finish. A gig bag is also included.
Gibson built its first “Super Jumbo” SJ-200 as a custom order for country and western singer and film star Ray Whitley, who desired a big, loud, and deep flat-top over which to croon. The SJ-200 quickly became a staple of cowboy singers and horseback troubadours, and then country music, 60’s folk stars, and onto every acoustic guitar genre that has followed. Ray would be proud to hear the booming sound from the Gibson Player Port on the new G-200, which comes ready for the stage or studio with a LR Baggs Element Bronze pickup system. Like all models in the Gibson Generation Collection, the G-200 is handcrafted in Bozeman, MT, by the same highly--skilled craftspeople who make all Gibson acoustics. The G-200 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-200 cutaway jumbo body is exceptionally comfortable to hold and provides excellent access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-200 is available in Natural finish. A gig bag is also included.
G-Bird | Generation Collection
For more information, please visit gibson.com.
Looking for a compact, “noiseless” way to plug in and play guitar? Check out the brand-new Gibson Digital Amp, available only in the Gibson App.
The new Gibson App simplifies the learning process and brings guitar playing to life for the current and next generation of guitarists in a modern, comprehensive, and intuitive way. The Gibson App is the place to take your guitar playing to the next level. New to the Gibson App is the Gibson Digital Amp, the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediate players and pros to get their sound anywhere. The Gibson Digital Amp is an accessible amplifier for both acoustic and electric guitars, and is currently available for Apple/iOS users--an Android version will debut next year.
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The Gibson Digital Amp is the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediates and pros.
The Gibson App uses a unique two-way, interactive platform to teach guitar students how to do everything from playing their first note to shredding loads of songs. The Gibson App features interactive lessons with thousands of lessons and songs. Learn the songs step-by-step with video tutorials from superstar artists and pro guitarists in the “Gibson App Guide.” The Gibson App also includes the new Digital Amp, a built-in tuner, a metronome, Gibson TV, and new songs are added every week. New Gibson App Guides are added regularly and include Tommy “Spaceman” Thayer’s favorite iconic KISS guitar solos, Richie Faulkner’s (Judas Priest) “Guide to Metal,” Jared James Nichols’ “Guide to Blues,” CELISSE’s “Guide to Songwriting,” and more.
The Gibson App uses “audio augmented reality” to provide dynamic feedback to students as they learn and play. As you pluck a note or strum a chord, the Gibson App listens to your guitar and gives you real-time feedback on your playing. It also gives students a more contextual learning experience: Instead of learning chords and scales in a vacuum, you’re able to practice on a scrolling tablature that lets you hear how you sound with the backing of a virtual band. That means you can load up “Hurt” by Johnny Cash, “Brown Eyed Girl” by Van Morrison, “American Girl" by Tom Petty, “Nothing Else Matters” by Metallica, “Where is My Mind" by Pixies, “Country Roads” by John Denver, “I Hate Myself For Loving You" by Joan Jett, “Heaven” by Kane Brown, “Shape Of You” by Ed Sheeran, “Killer Queen” by Queen,“ Sweet Child O’ Mine,” by Guns ‘N Roses, “Run to the Hills” by Iron Maiden, “Roxanne” by The Police, and “Don’t Stop Believin’” by Journey, “Smells Like Teen Spirit” and “The Man Who Sold the World” by Nirvana, “Are You Gonna Go My Way” by Lenny Kravitz, and “Don't Look Back In Anger” by Oasis and hundreds more songs in a wide range of genres, to see how your play matches up with such seminal tracks.
As you’re playing, the Gibson App gives you feedback on timing and tone, ensuring that students are getting active input on how their play is developing. The Gibson App appeals to players of all levels, it’s not just for beginners looking to learn a few chords; the app can assist seasoned guitarists who are working their way through difficult riffs, want to learn their favorite songs, or polish their advanced techniques.
Players can also challenge themselves by speeding up or slowing the tabs. Like having a full-time guitar teacher, the Gibson App keeps track of all your progress and adjusts lesson plans accordingly. The Gibson App released a “backing track mode” which supports both lesson and song playback without headphones, so users can self-select what works best for their current environment. And that’s not all: the Gibson App also packs in a fully-featured digital tuner for guitar first-timers, there’s even a detailed lesson on how to tune your instrument, a multi-function metronome, players can connect to free one-on-one consultations with Gibson’s Virtual Guitar Tech team, and to direct links to the Gibson, Epiphone, and Kramer online stores for easy shopping for guitars, gear, apparel, and accessories.
Learn Guitar With The Gibson App
The Gibson App is more than a pocket-sized guitar teacher, it’s loaded with an archive of exclusive content and original programming from its premium and accessible award-winning online network, Gibson TV, featuring music icons telling their best guitar stories, with more episodes and installments added regularly. Users can watch Black Sabbath’s Tony Iommi share insights and tales from his decades-long career on the series “Icons,” dive into Joe Bonamassa’s assortment of legendary Les Paul guitars on “The Collection,” or see how Gibson’s iconic instruments are made in their Nashville factory from body to binding on “The Process.” There’s even a series called “The Scene” that focuses on backstage stories from hallowed music venues from coast to coast like The Troubadour and Grand Ole Opry.
The Gibson App free version features a few lessons a day; the premium version of the Gibson App offers full access and a 14-day free trial, then costs $19.99/£16.49 monthly or $119.99/£98.99 yearly.
For more information, please visit gibson.com.