
Rocco DeLuca says his favorite instrument is his baritone lap steel, but he frequently plays 12-string pedal steel as well. He says that, while it lacks the bottom end of the baritone, he can "achieve a lot of the same things, but it'll give me other colors or textures that I like and want to explore."
Hopping between 6-string, baritone lap steel, and pedal steel, the SoCal guitarist has collaborated with the legendary producer on everything from cosmic guitar soundscapes to the dub-infused gospel of the new Heavy Sun.
Rocco DeLuca has learned to hear the complexity within simple musical gestures. "An orchestra tuning up at the beginning [of a concert] … that's the most exciting part for me," he says, deep into our conversation. "How's it gonna get better than that? Everybody's reaching for the note, right? It's exotic because they've abandoned the Western philosophy when they're tuning up and they're pulling everything. There's all this microtonal information. Things are rubbing and harmonizing all over the place, there's a billion worlds, and then they're gone as they achieve it."
This serves as a good introduction to DeLuca's musical philosophy. Whether he's playing guitar, lap steel, or pedal steel, he gravitates toward what often seem like simple harmonic, melodic, and rhythmic choices. But if you listen attentively, his ideas carry considerable depth, as if there is a journey informing everything he plays.
Like any lifelong artist, DeLuca's path has been a winding one. His father was a guitarist who worked with Bo Diddley, and Rocco was drawn to pick up the guitar at a young age. Early in his career, he performed opening slots for masters such as Taj Mahal and John Lee Hooker. In the mid-2000s, he was working as a bluesy alt-rock singer/songwriter in the tradition of the late Jeff Buckley when Kiefer Sutherland signed DeLuca to his Ironworks label for his 2006 debut, I Trust You to Kill Me. Since then, he has handled quite a bit of soundtrack work for films and TV, and even made a guest appearance on Slash's 2010 solo debut.
We got into a thing and I thought, 'That's the sound I'm looking for right there. I want this all the time and I never want to hear anything but this.'" —Rocco DeLuca
DeLuca's discography tracks his progress into a nuanced singer-songwriter, culminating in his most recent solo album, the ruminative and atmospheric Live Off the Floor, from 2018. But his longtime collaboration with Daniel Lanois deserves special attention. The legendary producer/guitarist/songwriter is, like DeLuca, a bit of a seeker. He has a knack for uncovering musical truths, whether in the form of standout recordings by artists such as Bob Dylan, Emmylou Harris, Willie Nelson, and Neil Young, or albums under his own name. He must have heard something special the night he first heard DeLuca play.
"I had just come back from a four-year tour," DeLuca says. "On the day I arrived home, my friend over at [former L.A. club] Spaceland called me and said, 'A band just canceled, will you come play the set for me tonight?' I went down there and I was in good form, and Dan was right there in the front, singing harmony the whole time. Every song."
Soon, Lanois was handling production duties on DeLuca's 2009 album, Mercy, setting the stage for their long and fruitful creative partnership. In Lanois, DeLuca found someone who could push him and help him develop his sound; in DeLuca, Lanois found a simpatico musical foil who would help bring some of his own ambitious projects to life. "Rocco Deluca has the magic fingers, one of the best fingerpickers I've ever played with," Lanois says. "Rocco's dynamic range on the slide guitar can swing from delicate to dark metal. I love it!"
TIDBIT: When Rocco DeLuca, Daniel Lanois, and bassist Jim Wilson started working with Johnny Shepherd, they focused on singing four-part harmony around Shepherd's Hammond organ long before picking up their guitars.
And yet, DeLuca's musical personality is recognizable across his range of instruments, whether he's playing his 1976 Les Paul Custom, or his Sho-Bud or Franklin pedal steels, and whether he's amplifying his sound with his go-to 1948 Fender Pro or his Pignose. One instrument that sets him apart is his 8-string baritone lap steel, custom-made by California–based luthier Pavel Maslowiec. "He built me one of the most beautiful baritone steels I've ever heard in my life," DeLuca exclaims. "It's all out of mahogany and it's all business. A simple piece of wood. We went down to Santa Barbara and Seymour Duncan wrapped me a badass humbucker. It's the best tone I've ever heard of any kind, without a doubt."
It doesn't just sound great, it has a hidden superpower as well. DeLuca tells us that Maslowiec "put a magnet inside of there that I can kick in to hold one string like a theremin. So, if I'm playing and we're getting to that place and I don't want to get louder but I want to get more melodic and more defined, I kick this in and I can play these beautiful chords and it will hold my melody line through the whole thing. It's one of the coolest things."
DeLuca realized the power of this instrument when Lanois took him on a European tour where he performed a solo opening set on the baritone lap steel. "I was really excited to play that instrument by itself so it could be truly heard," he says. "We were going to Europe and playing these beautiful theaters, and I got the chance to really hear that thing sing. When I would play a theater, it was amazing how much sound and dynamic and dimension is in that instrument."
Rocco DeLuca's Gear
"The best tone I've ever heard," says DeLuca of his 8-string Pavel Maslowiec–built mahogany lap steel, which includes a handwound Seymour Duncan humbucker.
Photo by Simon Reed
Guitars
- 1976 Gibson Les Paul Custom
- Pavel Maslowiec Baritone Lap Steel
- 1970 Sho-Bud 12-String Pedal Steel
- 1980s Franklin 12-String Pedal Steel
Amps
- 1948 Fender Pro
- 1959 Fender Princeton
- Pignose
Effects
- Roland RE-201 Space Echo
Strings, Picks, and Slides
- Dunlop Herco Flex 52 Thumbpick
- Dunlop metal fingerpicks (for steel)
- Ernie Ball or SIT .11 sets with wound 3rd string
- SIT Buddy Emmons Signature Pedal Steel Strings (.012–.015–.011–.014–.018–.022–.026–.030–.034–.038–.042–.054)
- SIT Lap Steel (.015–.016–.017–.026–.038–.054–.060–.074)
- Dunlop Stainless Steel Tonebar (steel)
- Homemade cut wine bottle necks (guitar)
Lanois took notice, and on one fateful night jumped onstage to join DeLuca on pedal steel. The way DeLuca tells it, this was a transformative moment from which there was no return. "We got into a thing and I thought, 'That's the sound I'm looking for, right there. I want this all the time and I never want to hear anything but this.' I annoyed everybody in my life. They'd go, 'Aren't you going to sing? Aren't you going to write a song?' And I'd go, 'Do you hear this? This doesn't turn you on?'"
In 2016, the two released Goodbye to Language, a meditative album of two steel guitars following each other amidst a warm ambient sonic landscape that sounds both ethereal and completely organic. "My job was to support his movement. I thought it was beautiful to do that," he enthuses. "It was one of the best experiences of my life. Once we got our thing together, even moving to a chord, like an orchestra finding that moment, we would both be bending in different directions and land in the same spot. That's the genius, to me, of the album, because that's happening at all times. It's never not trying to find itself."
Daniel Lanois onstage with DeLuca in London, around the time they started performing as a duo. The would go on to release the ethereal Goodbye to Language in 2016.
Photo by Simon Reed
DeLuca and Lanois' most recent collaboration is Heavy Sun—released under Lanois' name—which is centered around organist and vocalist Johnny Shepherd, who was the house organist at the Zion Baptist Church in Shreveport, Louisiana. The two guitarists met Shepherd while working together on a modern gospel/Americana live project called The Hallelujah Train, which featured members of the church with a cast of all-star musicians.
"I got to sit next to Johnny [during The Hallelujah Train], and I just fell in love with him. I was hearing everything I love about music in one person, as far as his beautiful voicings, both with his voice and with his organ, and how quickly he can change sounds and colors," says DeLuca. After the project was finished, DeLuca invited Shepherd to Los Angeles and Lanois got involved. DeLuca continues, "I had just helped writing the Rockstar stuff with him [the soundtrack for the Red Dead Redemption II video game]—a song called 'That's the Way It Is,' and the chant for 'Unshaken,' which Dan and D'Angelo fleshed out to become the full version. We were riding high on that, and Dan was like, 'Let's do a record together,' so it got even bigger than what I thought we were going to do."
Shepherd moved to Los Angeles, where they kicked off several years of learning, writing, and recording together, along with bassist Jim Wilson. They focused on their voices as they collaborated to compose material that mixed Shepherd's background in the church with secular songwriting. "We began singing every day around the organ, around Johnny, and it became one of the most beautiful things I'd ever done," says DeLuca. "I had never been that dedicated to singing in four-part harmony every day for that long. After a while, it got very special and it helped me become a better guitar player. I felt like I was learning a lot of really valuable, ancient stuff."
Lap steel, standard round-neck guitar, pedal steel, and harmonica are all within DeLuca's grasp. His recent release, Live Off the Floor, shows what he can do alone with a stash of instruments.
Photo by Robbie Jeffers
After about two years of singing together around the organ, the rest of the band decided to join DeLuca at a residency he was performing at a Los Angeles club, Zebulon. Their guitars started to play a greater role as they brought the songs to a live audience, though they now approached their instruments—DeLuca and Lanois both on their Les Pauls—informed by their vocal practice. DeLuca says, "There was never a need in life to fish for any notes ever again, to try to invent something, because it's all in the voicings of the chord, everything we need. Everything I was looking for, at least. It's in the changes, and you pick the voice you want to use, or the many voices you want to use on a string instrument."
By the time Heavy Sun was complete, the musicians had spent around three years developing the material and bringing it to life. The result is a powerful and moving album that rewards careful listening. The songs feel timeless and the performances resonate amongst Lanois' dub-infused production. It's hard not to be inspired by Shepherd's singing and warm charisma as well as the focus and care taken by Lanois, DeLuca, and their collaborators—namely Wilson and engineer Wayne Lorenz—to nurture the creative process.
With Heavy Sun released, DeLuca joins Shepherd every week on his 12-string pedal steel at the New Revelation Baptist Church in Pasadena, California, where the organist leads services. They've released a single of the meditative, soulful ballad "Liberation," and are finishing up a new collaborative album called Mighty Glad. DeLuca says the process of working with Shepherd has helped him to better serve the music he plays. "Once you serve something, then you have a purpose or an intention, and it's not accidental playing. You can be spontaneous and creative, all those things, but you're not playing accidentally," he explains. "When a player plays like that, their whole thing changes—their dynamics change, pitch changes—and if you isolate them after they've served something and you've pulled out the ingredients, you'd have probably their best playing."
ZEBULON SESSIONS /// ROCCO DELUCA /// MAY 29 2020
Filmed live in Zebulon, the same L.A. club where the Heavy Sun group performed their residency, this video shows Rocco DeLuca delivering late-night desert vibes on his pedal steel, Les Paul Custom, and Pavel Maslowiec– built 8-string baritone lap steel.
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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?