
My Morning Jacket is keyboardist Bo Koster, bassist Tom Blankenship, guitarist Jim James, drummer Patrick Hallahan, and guitarist Carl Broemel.
After a hiatus, the rootsy rock heroes reconvene with new guitars—including James' signature Gibson ES-335—to deliver a self-titled album of big beats and powerhouse jams.
My Morning Jacket guitarists Jim James and Carl Broemel both play amazing, beautiful, high-end guitars. But during sessions for their latest album, My Morning Jacket, they spent some time gripping a pair of unusual, less-than-fancy instruments that probably wouldn't need to be kept behind the glass case in your local guitar store.
It all started when James received an off-beat custom 6-string from the proprietor of L.A.'s Old Style Guitar Shop. "My friend Reuben Cox made me a Tele out of plywood from Home Depot," James says about his unique high-end/low-end hybrid. "It weighs about 2 pounds and has a Fender neck on it, but the body is plywood. It has one humbucker at the bridge and no knobs or anything. That thing just snarls."
Not to be outdone, Broemel opted for something vintage with plenty of quirk. "My new fave for the studio is a Silvertone U1," he says. "It's cool, light, plucky, and I used it on probably half of the new record. It's very clean and very low output, so the amps always sound friendly. It was a guitar you bought at Sears for $20. It has a lipstick pickup, a volume and tone knob, and a 3-position switch that in the middle position doesn't do anything, but one way is a low roll-off and the other way is a high roll-off. For a pickup that's that close to the neck, to be able to roll-off some lows makes it more useful to me."
My Morning Jacket - Love Love Love (Official Video)
James and Broemel often both play Gibson or Gibson-style instruments—at least during live shows—but it's pretty easy to distinguish between the two of them. James' lines have a feeling of longing or searching to them, as if he's reaching beyond himself for that perfect note that's just past his grasp. Although not after he kicks on his gated Devi Ever USA Fuzz Monster, at which point it just gets nasty (his lead on "Love Love Love" is a great example). Broemel is more subtle. He's often resting his hand on his Bigsby, which gives his playing a faux-slide feel, although at times he'll use a real slide, like on "Regularly Scheduled Programing," for colors and textures. Those differences are most pronounced when they're both soloing at the same time, as they are during the climax of "In Color," off the new album.
But My Morning Jacket isn't Aerosmith, and they're not purposely choosing their guitars to distinguish their tones. "I think those guys know more about guitar tones than what you should and shouldn't do," Broemel laughs. "I think we're more like kids. We're just bumbling through it."
TIDBIT: Even though he has a new signature model ES-335, Jim James chose to use a guitar made from Home Depot plywood on some of My Morning Jacket.
Nonetheless, rich tones abound on My Morning Jacket, whichoozes the band's signature blend of rootsy, '70s countrified rock; tight, cogent songwriting; and space to stretch out and jam. Songs like "Penny For Your Thoughts" and "In Color" are fine examples of that ethos. But as the band headed to L.A.'s 64Sound to begin the album's initial sessions in late 2019, they had no idea what they were walking into—and not just because of their guitars.
Low Pressure and Loose Jams
My Morning Jacket went on hiatus after wrapping up their tour in support of 2015's The Waterfall. After reconvening for four shows in summer 2019—including two epic nights at Colorado's Red Rocks Amphitheater—they decided to head back into the studio that fall to feel things out.
"We didn't really know what the future of the band held, so we just wanted to come in and play together." —Jim James
"That session was interesting because we didn't know if we were going to make a record or not," says James, who also fronts the band. "We didn't really know what the future of the band held, so we just wanted to come in and play together." That set the tone for the sessions and the way the band approached them. "We came in with low expectations and low pressure and started knocking around ideas in an almost jazz-like way, where you just play the idea around and around and let it speak. It turned out we started doing song after song after song. It just flowed naturally."
The jams from those sessions plus another round in March 2020 form the nucleus of My Morning Jacket. Many of the songs were cobbled together from multiple takes, which meant some have detectable tempo changes and even include instrument changes mid-solo. That lends a feeling of raw energy to the album. "I don't really care if they're not exact," James says about the hazards of compiling various takes. "If it feels good, I don't mind that stuff."
Carl Broemel and Jim James, live and in color, doin' the double guitar thing they're known for. "We work together really harmoniously," says James.
Photo by Joshua Brasted
This loose approach also created the ideal conditions for some inadvertent dueling leads, like during the climax of "In Color." "It is very open-ended in terms of who's going to do what," Broemel says. "It's almost to the point where it's like, 'Why doesn't everyone just go for it?' Similar to a New Orleans band where it's like a fanfare and everyone is playing. We haven't perfected that, but that is our idea."
Papa’s Got a Brand New Gibson
The sessions for My Morning Jacket were done with limited gear, since James insisted everyone bring only essentials. For Broemel, that meant the Silvertone U1, two Les Pauls, and two Duesenbergs, and for James, it was the plywood Tele, one acoustic, and a prototype Gibson Jim James ES-335.
Jim James' Gear
Jim James poses with his new Gibson ES-335 and one of his favorite guitar tools—his trusty capo. His signature model spots a thin neck profile that, in part, provides relief for his carpal tunnel syndrome.
Photo by Ken Settle
Guitars
- Gibson Jim James ES-335
- Reuben Cox Custom Plywood T-Style
- Chris Fleming-Designed Fender Strat
- Scott Baxendale Custom "Jimmy"
- Gibson ES-335
- Gibson Barney Kessel
- Gibson Hummingbird
- Gibson J-45
Strings & Picks
- D'Addario Nickel Wound (.009–.042)
- D'Addario Phosphor Bronze Acoustic Extra Light (.010–.047)
- Dunlop .88 mm
Effects
- Devi Ever USA Fuzz Monster
- Boss Waza Craft BD-2W Blues Driver
- Boss OC-2 Octave
- Electro-Harmonix POG
- Malekko Spring Chicken Reverb
- EarthQuaker Devices Ghost Echo
- Universal Audio Golden Reverberator
- Universal Audio Astra Modulation Machine
- Universal Audio Starlight Echo Station
- Spaceman Orion
- SoloDallas The Schaffer Boost
Amps
- 3 Monkeys Orangutan
- 3 Monkeys cab
- Mesa/Boogie cab
James' new signature model is the result of a collaboration that took place over about five years. The guitarist explains that his goal was to create a guitar that didn't have fancy appointments—to make something that seemed "almost invisible," as if it were a part of the Gibson line for decades. To accomplish this, James chose to outfit his signature model with a '70s walnut finish, calibrated T-Type humbuckers, and Kluson Waffleback tuners. "I hope people who like me or like my music like the guitar," he shares. "I like the thought of somebody just seeing it in a guitar store and going, 'Whoa, that's really beautiful.' I wanted it to feel like a classic instrument that doesn't have a bunch of weird things on it. I think we've created a classic feeling instrument that plays really well. I've been playing it on these tour dates and I really love it."
One difference that players will find unique about the Jim James ES-335 is its slim neck profile. "I wanted it to have a thin neck, because I've got pretty bad carpal tunnel," he reveals. "During shows, my hands would go completely numb. They would turn into hamburger, and by the end of a tough song, I didn't know if I was going to make it through the next song."
"I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps." —Carl Broemel
Opting for a slim neck is just one of the ways James has adapted his rig to his carpal tunnel issues. He's also switched to lighter string gauges. "It's helped a lot," he says. "I broke strings a lot in the old days. Before I had a guitar tech, I had to use .011s so I would make it through the show. I went down to .010s for a long time. This tour, we went down to .009s, and it's been incredible—the ease of playing. I went to extra-light gauge on the acoustic, too. I also try to limber up and do stretches. I hope I don't have to have surgery. And I have braces I wear when I sleep."
Captains of the Capo
James often plays with a capo, which helps him reimagine the fretboard. He's a visual player who thinks in terms of shapes. In that regard, the capo is a powerful tool that enables him to find new sounds from familiar fingerings. But more than that, his visualizations impact the way he interprets a song.
Carl Broemel's Gear
Carl Broemel wields his Bigsby-equipped '88 Les Paul Standard.
Photo by Ken Settle
Guitars
- 1988 Gibson Les Paul Standard with Bigsby
- Gibson Les Paul Junior
- Duesenberg Starplayer TV
- Duesenberg Caribou
- Silvertone U1
- GFI Ultra Pedal Steel
- Scott Baxendale Conversion Harmony Roy Smeck Model
Strings & Picks
- D'Addario Nickel Wound (.011–.049)
- Dunlop .73 mm
Amps
- 1967 Fender Princeton Reverb
- 1950s Fender Tweed Deluxe
- 1968 Fender Vibrolux
Effects
- Hudson Electronics Blackbird octave fuzz
- Hudson Electronics Sidecar overdrive
- Keeley Tone Workstation
- Fulltone Tube Tape Echo
- Empress Tape Delay
- Moog MF Delay
- EBow
"I think in terms of shapes and colors," he says, "and each fret represents a different color. When I put a capo on a different fret, it makes the song a different color for me. No capo, or open, I see as a white or clear color. First [fret] capo is yellow. Second capo is blue. Third capo is red. Fourth capo is orange. Fifth capo is purple. Sixth capo is pink. And I think that's as high as I got."
For Broemel, using a capo helps him take advantage of some of the instrument's characteristics—like open strings, unisons, and harmonics—especially in keys not generally considered open-string "guitar keys."
Rig Rundown - My Morning Jacket's Carl Broemel
Article and photos: https://bit.ly/MMJBroemelRRPremier Guitar’s Perry Bean met with Carl Broemel when My Morning Jacket stopped in Nashville on their summer t..."Our song 'Circuital,' for example, is in Bb," he says about the title track of their 2011 release. "You get no benefit from a standard-tuned guitar when the song is in Bb—you get nothing open. But that's what's so good about the guitar. You have all these bonus things that are special about the instrument. You have access to two or three versions of the same note. I like to use unisons, an open string with a fretted note, or an open string with a harmony, and play with that—play high on the neck but also use an open string. That stuff is interesting to me about the guitar. It has limitations, which I like, and if you use a capo, you can scoot those limitations to whatever key you want."
The Path of Least Resistance
When it comes to capturing their sounds, it's no surprise that Broemel preaches his love for old-school tones. "I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps," he says. "That's what I want. I need that. You pick up an acoustic guitar and it is this beautiful thing and it smells like wood." This provides Broemel with a more-visceral sonic experience. He adds, "I always feel like I need the sensation of touching the music. It's been hard with digital. When you were working with analog all the time, it really felt like every sound had a tactile feel. I am over that, but as far as guitar sounds, you've got to have a speaker. You have to have an amp. Maybe the tube is a little wonky. Maybe the fuzz pedal you found in a dusty box isn't working right, but it's the best."
"There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces." —Jim James
James and Broemel are no purists, and both embrace digital gear when it helps get the job done. Broemel concedes that, sometimes, it's just a more reliable method. "I took my Fulltone [Tube] Tape Echoes on the road for a while," he says. "But there was one Bonnaroo we were playing, and I pulled the top off and the tape had melted. It was too hot, and there was dust and moisture in the air. You can do it, but if you want your tape echo to work the entire show, maybe it has to live in an air-conditioned box." Broemel uses a tape-free Empress Tape Delay on tour these days.
When it comes to the band's gear, how they record, or how they divvy up their parts as a two-guitar outfit, My Morning Jacket embraces the path of least resistance and keep things loose and natural. It just seems to work. And keeps working. "It's pretty organic," James says. "Sometimes I'll have a thing that'll need to happen and I'll ask Carl to do a certain thing. But a lot of times we'll just play and let it speak. We work together really harmoniously. There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces. We have our own way of doing things."
My Morning Jacket – Regularly Scheduled Programming
My Morning Jacket show off their giant tones, big beats, and the newly released Jim James ES-335 as they perform "Regularly Scheduled Programming" on Jimmy Kimmel Live!
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New Epiphone inspired by Gibson Custom Collection features eight new guitar models with Gibson USA pickups, high quality electronics, rosewood fretboards, world-renowned Gibson open-book headstocks, one-piece necks, new vintage gloss finishes, and premium design builds.
For over 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has set the stage for the next era of sound for present and future generations. Epiphone’s game-changing Inspired by Gibson Custom Collection, developed in close collaboration with the skilled luthiers at Gibson Custom Shop in Nashville, Tennessee, continues to expand, establishing a new tier of premium Epiphones for every stage. Featuring Gibson USA pickups and premium electronics, world-renowned Gibson “open book” headstocks, solid wood construction, and one-piece necks, Epiphone’s Inspired by Gibson Custom Collection brings Gibson Custom designs to the masses, adding to Epiphone’s full array of instruments for all player levels. Epiphone's Inspired by Gibson Custom Collection is now available worldwide at Authorized Epiphone dealers, the Gibson Garage in Nashville and London, and on www.epiphone.com.
The game-changing Epiphone Inspired by Gibson Custom Collection collaboration with the artisans at Gibson Custom is expanding with eight new models that feature Vintage Gloss finishes that give them a more vintage-correct appearance without looking overly aged. These guitars look as if they had been purchased new and then spent years sitting in a case that was safely stored away, just waiting for you to discover them. All of the models in the Epiphone Inspired by Gibson Custom Collection now feature rosewood fretboards for even greater authenticity and historical accuracy and USA-built pickups from the Gibson Pickup Shop in Nashville, Tennessee. These are the same high-quality, great-sounding pickups in the USA-built Gibson and Gibson Custom models. All of the models feature vintage-appropriate headstock shapes, from the authentic Reverse Firebird™ headstock on the 1963 Firebird V Reissue With Maestro™ Vibrola™ and the 1963 Firebird I Reissue to the “open book” Gibson-style headstocks on the other models, they give these guitars an undeniably authentic appearance.
“As Epiphone celebrates over 150 years of guitar craftsmanship, each iconic guitar is a tribute to Epiphone's rich history and dedication to quality,” says Aljon Go, Epiphone Product Manager, Nashville, Tennessee. “Our ‘Inspired by Gibson’ collection is all about bringing high-quality guitars based on classic Gibson designs, but at a price that won't break the bank. For those looking for something truly special, our newest ‘Inspired by Gibson Custom’ range offers premium models crafted in collaboration with the Gibson Custom Shop. These guitars are part of our ongoing mission to make the exceptional craftsmanship and elevated appointments of the Custom Shop more accessible to players and fans everywhere.”
Explore the full Inspired by Gibson Custom lineup of premium Epiphone models for players of every level HERE.
1962 ES-335 Reissue:
A 1962 vintage-style ES-335 Reissue Inspired by Gibson Custom
The Gibson ES-335™ is one of the greatest guitar designs of all time. It is renowned for its exceptional versatility and has been used by countless players in a wide range of genres. Combining the best elements of solidbody and thinline hollowbody designs, it’s a highly resonant guitar that resists feedback much better than a full hollowbody due to its interior solid maple center block. Now, Epiphone, in cooperation with Gibson Custom, is proud to introduce the 1962 ES-335 Reissue, a guitar that was very much inspired by Gibson Custom’s ES-335 offerings but purposefully based on a model year that Gibson Custom does not currently reissue – 1962, a year when popular features like rounded cutaways, small block inlays, and a fast-playing, slim neck profile were all present on the Gibson ES-335.
The Epiphone1962 ES-335 Reissue has a semi-hollow 5-ply layered maple/poplar body with rounded cutaways and a solid maple center block for outstanding sustain and feedback resistance. The genuine one-piece mahogany neck has a thin 1960s SlimTaper™ C profile and is capped with a rosewood fretboard that is outfitted with 22 medium jumbo frets and mother-of-pearl small block inlays. The fretboard features rounded edges to give it a comfortable, played-in feel that invites you to explore it for hours at a time. Even the side dot position markers are the same size as on vintage 1962 ES-335 models and are placed in historically accurate locations. The Gibson-style “open book” headstock features the Epiphone logo and Gibson Crown inlaid in aged mother-of-pearl and is fitted with smooth-turning Epiphone Deluxe tuning machines with Double Ring Keystone-style buttons and a Graph Tech® nut. An ABR-1 Tune-O-Matic™ bridge and Gibson historic reissue aluminum Stop Bar tailpiece anchor the strings at the other end directly into the solid maple center block and further contribute to the 1962 ES-335’s excellent sustain. For electronics, a pair of USA-made Gibson Custom bucker humbucker™ pickups are hand-wired to CTS® potentiometers and Black Beauty paper-in-oil capacitors and deliver authentic ES-335 tonal versatility, making the 1962 ES-335 Reissue a great choice for rock, blues, jazz, country, and more. The Sixties Cherry and Vintage Burst finishes have a vintage gloss that gives them a cool vintage vibe. A vintage-style Black hardshell case with a plush Goldenrod interior and Inspired by Gibson Custom exterior graphics is also included to help keep this beautiful 1962 ES-335 Reissue safe during storage and travel.
Epiphone 1962 ES-335 Reissue Semi-hollow Electric Guitar - Vintage Burst
62 ES- 335 Reissue, Vin Burst1960 Les Paul Special Double Cut Reissue:
Special in every way
The Gibson Les Paul™ Special was first introduced as a single cutaway model in 1955, and with the exception of the sunburst Standards that were produced from 1958-1960, it was the last of the original50s-era Les Paul model variants to be introduced. An enhanced version of the Les Paul Junior with increased sonic flexibility, it featured two P-90 pickups instead of the single P-90 found on the Junior and also added a bit of extra bling in the form of a bound fretboard and a mother-of-pearl headstock logo. In 1958, the body shape was revised from a single cutaway to a double cutaway, which delivered improved fretboard access, and the Special hit its stride in 1960 when a thinner SlimTaper™ neck profile and a lower neck pickup placement made it more robust and easier to play than ever.
Now, Epiphone, in partnership with Gibson Custom, is proud to introduce the 1960 Les Paul SpecialDouble Cut Reissue, an Inspired by Gibson Custom recreation of the sought-after 1960 Les Paul Specia Double Cut. Like the originals, it features a slab mahogany body with double cutaways that provide excellent access to the entire length of the fretboard. The one-piece mahogany neck has a fast-playing60s SlimTaper profile and is capped with a rosewood fretboard with 22 medium jumbo frets and mother-of-pearl dot position marker inlays. The fretboard has a 12” radius that makes playing first-position chords and solos with string bends further up the neck equally effortless. The Gibson “open book” style headstock is equipped with Epiphone Deluxe three-on-a-plate tuners with white buttons and a GraphTech® nut to help keep the tuning nice and stable, while a historic style Wraparound bridge with intonation screws solidly anchors the strings at the other end and contributes to the excellent sustain that the Les Paul Special is famous for. A pair of USA-made P-90 Soap bar pickups from Gibson Custom that can go from sweet and clean to outright nasty and dirty-sounding are hand-wired to individual volume and tone controls with high-quality CTS® potentiometers and Bumblebee paper-in-oil capacitors for authentic vintage tones that are sure to please even the most tone-conscious players.
The 1960 Les Paul Special Double Cut Reissue comes packaged in a vintage-style case with a brown exterior and pink plush interior that features Inspired by Gibson Custom graphics on the exterior. It all comes together to deliver a vintage playing and ownership experience at an accessible price that is special in every way.
Epiphone 1960 Les Paul Special Double Cut Reissue Electric Guitar - TV Yellow
60 LP Special Double Cut Reissue , TV Ylw1964 SG Standard Reissue With Maestro Vibrola:
An Inspired by Gibson Custom reissue of one of the most beloved vintage SG models
The 1964 SG™ Standard Reissue With Maestro™ Vibrola™ recreates one of the most beloved SG model years of all time–the 1964 SG Standard. While the 1964 SG Standard was famously used by such notable players as George Harrison and Eric Clapton, the model year was a standout for the SG in general. By 1964, the less intuitive Sideways Vibrato had been replaced with the dependable Maestro Vibrola, while the neck profile increased in size somewhat from the ultra-thin neck profiles found on some of the earlier SG models, and the SG’s balance, playability, and look seemed to come into its own. 1964 was also the first full year that the SG dispensed with the Les Paul moniker it previously used. Now, Epiphone is proud to release the 1964 SG Standard Reissue With Maestro Vibrola, a stunning recreation of that legendary model. Made in collaboration with Gibson™ Custom, the Epiphone 1964 SG Standard Reissue With Maestro Vibrola is the most authentic recreation of the 1964 SG Standard ever released by Epiphone.
All of the classic appointments the 1964 SG Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and an aged mother-of-pearl Gibson crown headstock inlay on the Gibson-style “open book” headstock. The center-seamed, two-piece mahogany body features the comfortable and distinctive bevels that help define a vintage-style SG and make it so comfortable to hold and play. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish is nicely complimented by the nickel hardware, including Epiphone Vintage Deluxe “Double Ring” tuners. A black hardshell case with Inspired by Gibson Custom graphics, gold hardware, and a goldenrod interior is also included.Epiphone 1964 SG Standard Reissue Electric Guitar - Cherry Red
64 SG Std w/Maestro Vibrola Reissue, Chrry Red1963 Firebird V Reissue With Maestro Vibrola:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through- body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.Epiphone 1963 Firebird V Electric Guitar - Polaris White
63 Firebird V Maestro Vibrola Reissue, Polaris Wht1959 Les Paul Standard Reissue:
A 1959 vintage-style Les Paul Standard Reissue Inspired by Gibson Custom, now with a rosewood Fretboard
The 1959 Gibson Les Paul™ Standard is one of the world’s most coveted–and valuable–vintage guitars. It has been embraced by numerous famous players, including Peter Green, Kirk Hammett, and Joe Bonamassa. The 1959 Les Paul Standard is very similar to the 1960 model year that followed it, but with a few differences, most notably, a somewhat beefier 1959 Rounded Medium C neck profile that many players prefer over the thinner SlimTaper™ profile found on the 1960 Les Paul Standard models. Now, Epiphone is proud to introduce the Epiphone 1959 Les Paul Standard Reissue, a beautiful recreation of those rare 1959 Les Paul Standard models. Made in partnership with Gibson Custom, the Epiphone 1959 Les Paul Standard Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1959 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, an authentic 1959 Rounded Medium C neck profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock.
Even the side dot position markers are the same size as on vintage 1959 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are first class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Single Ring” Keystone button tuners. A Brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard, but don’t want to sell the house to afford one.
Epiphone 1959 Les Paul Standard Reissue Electric Guitar - Deep Cherry Sunburst
59 LP Std Reissue, Deep Chrry Sunburst1963 Firebird I Reissue:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird™ V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.1957 Les Paul Goldtop Reissue:
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ’57 Goldtop
1957 was the year that the Les Paul™, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker™ pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic™ bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features
that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. It has a genuine mahogany body with a carved, plain maple cap. It is finished in a new Vintage Gloss version of the classic Gold color that gives it a vintage appearance without looking overly aged. The one-piece genuine mahogany neck has a 50s Rounded Medium C profile and a long neck tenon for excellent stability and sustain. The bound rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets, just like the original models from 1957. It has an aged mother-of-pearl Epiphone logo and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1957 Les Paul Standard models and are placed in historically accurate locations. The hardware is nickel-plated, including the ABR-1 Tune-O-Matic bridge, historical aluminum Stop Bar Tailpiece, and the Epiphone Deluxe “Single Ring” Keystone button tuners. The electronics are also first-class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. A historic-inspired hardshell case with a Brown exterior and pink plush interior and Inspired by Gibson Custom Graphics is also included. The 1957 Les Paul Goldtop Reissue isn’t just a guitar; it’s a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
Epiphone 1957 Les Paul Goldtop Reissue Electric Guitar - Goldtop
57 LP Goldtop Reissue, Goldtop1960 Les Paul Standard Reissue:
A 1960 vintage-style Les Paul Reissue Inspired by Gibson Custom, now with a rosewood fretboard and new Vintage Gloss finish
The 1960 Gibson Les Paul™ Standard is one of the world’s most coveted vintage guitars. It has been embraced by such luminaries as Eric Clapton, Paul McCartney, and Joe Walsh. The 1960 Les Paul Standard is very similar to the famous 1959 model year that preceded it, but with a few changes, most notably, a thinner and faster-playing SlimTaper™ neck profile that many players prefer over the somewhat beefier 1959 Les Paul Standard neck profile. Now, Epiphone is proud to introduce the Epiphone 1960 Les Paul Standard Reissue, a beautiful recreation of those vintage 1960 Les Paul
Standard models. Made in partnership with Gibson Custom, the Epiphone Les Paul Standard 1960 Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1960 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1960 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Double Ring” Keystone button tuners. A brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard but who want a more comfortable neck profile.Epiphone 1960 Les Paul Standard Reissue Electric Guitar - Washed Cherry Sunburst
59 LP Std Reissue, Washed Chrry SunburstENGL, renowned for its high-performance amplifiers, proudly introduces the EP635 Fireball IR Pedal, a revolutionary 2-channel preamp pedal designed to deliver the legendary Fireball tone in a compact and feature-rich format.
The EP635 Fireball IR Pedal brings the raw power and precision of the ENGL Fireball amplifier into a pedalboard-friendly enclosure, offering unmatched flexibility and tonal control for guitarists of all styles. This cutting-edge pedal is equipped with advanced features, making it a must-have for players seeking high-gain perfection with modern digital convenience.
Key Features:
- Authentic Fireball Tone – Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels – Easily switch between two distinct channels, with each channel’s knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function – Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate – Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C – Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output – Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls – Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4” (6,35mm) Jack
- Output 1/4” (6,35mm) Jack
- Headphone Output 1/8”(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C
We are excited to share that Mod® Electronics is launching a new line of Vintage Amplifier DIY kits,beginning with five models.
These vintage amplifier kits offer enthusiasts the opportunity to construct vacuum-tube-driven circuits from scratch resulting in their own hand-built equipment. Each kit includes all necessary components to build an amp including the chassis and components, as well as comprehensive, colorful, easy-to-follow instructions. These kits are available standalone, or can be paired with a matching cabinet and/or speaker.
These kits are available in the following circuits and cabinets:
- 5F1 - 5 Watt, Tweed Champ style - Amp kit only - $385.95, Amp kit + Speaker + Cabinet (complete build) - $720.90
- 5E3 - 12 Watt, Tweed Deluxe style - Amp kit only - $565.95, Amp kit + Speaker + Cabinet(complete build) - $968.51
- AA764 - 5 Watt, Blackface Era Vibrato style - Amp kit only - $535.95, Amp kit + Speaker + Cabinet(complete build) - $964.82
- AA1164 - 12 Watt, Blackface Era Reverb style - Amp kit only - $695.95, Amp kit + Speaker +Cabinet (complete build) - $1093.49
- AB763 - 22 Watt Blackface Era Reverb style - Amp kit only - $855.95, Amp kit + Speaker + Cabinet(complete build) - $1354.49
Mod® Kits cater to musicians of all skill levels, providing an accessible way to build custom amps and effects pedals. To help you choose the right project for you, each kit has a build difficulty rating.The kits come with user-friendly instructions and utilize point-to-point wiring. Each kit includes a pre-drilled enclosure and all necessary parts; you'll just need to supply basic hand tools, a soldering iron, and solder.
Available now at Amplifiedparts.com.
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?