A candid discussion of the guitarist''s continuing journey to redemption, including playing in a prison band and the development of his signature Two Rock amp.
Eric Gales brings The Hendrix. Heās that natural breed of guitarist who can pick up anything and sound good playing it. Born into a family with an innate sense of musicality and soul, his playing has always been miles beyond mere mechanics and licks. Even as a teenager he was talented beyond his years. He understood what it was all about, while backing it up with a freakish ability to play the hell out of a guitar. He feels the music, serves it back, and we absorb every note. We experience his soul.
His story reads like a great American novel, full of successes, tragedy, downfall, and redemption. Through it all, Galesā art mirrors his life. His albums are personal diaries of his tumultuous life and times in the grand tradition of the great bluesmen of old. He plays every note like he means it, and his life and music are synonymous.
Eric Gales was gone for a while but now heās back. His latest album Relentless, is an intense and hard-hitting record reflecting his recent incarceration and his road to overcoming his personal demons. Itās about his tenacious fight to survive dark places and move forward into the light.
How have you been?
Iām ok man. Iām living a new life and everything is going good. Iām really proud of this new record.
What was your state of mind while you were recording?
I was really excited. I had just come from a year and a half hiatus. I had to go lay it down for a little minute. I came straight out [of prison], went to San Francisco, and started recording. I think itās the best thing I ever did because we went in full throttle and pumped out a great record. It took fifteen days to do this record.
The songs were written beforehand?
No. We got into pre-production and worked the songs up. We had general ideas, but between me and Mike Varney, we wrote all the songs together. We belted them out and had some really great musicians. Aaron Haggerty and Steve Evans played drums and bass.
You were in the joint for a year and a half.
Yeah, on a three-year sentence. I served all of my timeā21 months taking care of a three-year sentence. You only do a percentage.
I bet you were ready to play some guitar when you got out.
Oh yeah. One of the interesting things that happened while I was in there is that the warden found out who I was. While I was in there, I was the start of him creating a prison band. We were able to go out to different places and play for the last seven months of me being there. So it really wasnāt like I was incarcerated.
Where did you play?
We didnāt play clubs. We played for the mayor, the city, festivals, and stuff like that. It got to be a big rave in the papers about how Eric Gales is doinā his time, but heās payinā back by performing, givinā his time to contribute back to society, and things of that nature. It was something that had never been done. It was kinda like a Johnny Cash Walk the Line thing.
How was your prison band?
Man, it was a really great group of guys that had to audition to be in the band. They came together and we were doing everything from R&B to rock ānā roll to gospelāeverything. It was just a great avenue to get out and see the free world. Our loved ones could come and visit us. It wasnāt all a bad thing while I was there. It wasnāt jailāthey called it a penal farm [Shelby County Division of Corrections] where I was, and I was the penal farm celebrity.
So you had to return to your cell every night, but they would let you out so you could play guitar.
Oh, yeah. St. Blues Guitars is who Iām endorsed by, so they came and donated some guitars to the place. The guys that are still there are playing those guitars. That was cool of them to do thatāinstruments, drums, amps, and everything.
You never really lost any ground, then? You were playing guitar the whole time.
Yeah. I wasnāt doinā my music, but I was keeping my chops up.
Basically, you paid your debt to society by being in a cover band.
[Laughing] Yeah. I kind of didnāt have a choice because the warden knew what kind of accolades that I had and it was like, āWe can use this to your advantage while youāre here, and make your time be a whole lot easier.ā Every other day we were going out somewhere to play, and if we werenāt going out somewhere, we were rehearsing every day. It was a cool thing. If you go do some time, thatās how I would suggest it be done.
Was this experience good for you?
Oh yeah. When you got nothinā to do it just weighs on you heavy, man. It was a great outlet every day to be able to go in and put that towards music. Iām just really appreciative to all the people down there at the penal farm for what they allowed me to do, and channel what I doāeven in the confines of gates and brick walls.
Take me back to what led you to being incarcerated.
What originally happened was that I was caught with a gun. I was caught with some coke, some pills, and a few other things that I originally got probation for. I had got a nice chunk of money from a record advance, and I went out feeling ten feet tall and bulletproof. I was behind the wheel, and the cops got behind me and I had all kinds of stuff in the car. So when I was doing the Experience Hendrix tour, I was supposed to report to the probation officer and do a monthly UA (Urine Analysis) and stuff like that, and I didnāt do that. There would have been a warrant out for me, so two days after I got off the tour, I turned myself inānot knowing that I was going to have to do the remainder of my time, but thatās what wound up happening.
So you broke probation by not checking in while on tour?
Right. My probation order allowed me to still leave the country, leave the city, go tour, and play and all that. I was just supposed to send in a UA from out of town occasionally, and I didnāt do it.
And you turned yourself in rather than deal with the warrant. They would have come looking for you.
Exactly. It wouldnāt have been comfortable for me to go play anywhere without them being able to easily find me.
Youād have to run off the stage after you finished playing the last note.
[Laughing] Right. And nothing wouldāve stopped them from coming to get me onstage while I was playing! I didnāt want to go through all that.
Do you think this was all for the best?
No doubt, man! Iāve got some things in my life that are going really great. Iām in a place called Christ Recovery Center out here in Minnesota. Iām doing really well, grasping on and ascertaining the tools that I need to get out there and be a productive person and great musician that God intended for me to be. Iām going to be here until the beginning of November. I came July first and I will have been here four months by then. I will have met all the requirements and graduated from the program. Mid-November is when the tour and all that stuff starts.
I have a lot of people still in my corner that are waiting for me to graduate so I can go on the road and take care of business. With this new record, thereās a whole lot of buzz going on about the comeback of Eric Gales. Iām here for the long haul. Iāve come to the realization that there were a lot of things that went on in my life, and Iām very fortunate to even still be here. Iām just going to take that and channel all that through playing, and just giving back the best way I know how, and thatās through music, and just doinā it different.
Being sober is the āin thingā now to me. There are countless other artists out there that are doing the sober thing. There are a lot doinā it the other way too, but I know it doesnāt work out for me that way. So, Iām very excited about the new album and the way Iām choosing to view it. I just want everybody to know reading this that Eric Gales is very well and alive. Look out for me coming to a city or town near you, starting in November.
It takes a lot of strength and support to overcome drug addiction.
Itās not only me, itās all the friends I have that are supportive. Itās a āweā thing. Itās a lot of support that I got from my friends, my wife, my family, my daughter, and my assistant. The people that I have working for me, theyāre all about checking and making sure that everything is going how itās supposed to go. Weāre looking forward to this new launch and itās going to be a major one. A lot of anticipation is coming behind when I get out and hit the road. Iām so stoked.
What led you to drugs?
It had nothing to do with the music industry. It was when I got to chillinā and just being idle. It was when I got off the road and wasnāt doing much of anything, and being intrigued with the street life. Thatās what it was. It was me wanting to be a people pleaser and hang out in the street. Hang out with those āpartnersā that were supposed to be my friends, but they really werenāt.
They were hanging around Eric, and knew he was goingā to have something [drugs]. Now itās a whole other avenue. Iāve got people that want to hang around me because of what Iām doing for myself, and how Iām living my life, and want to be around me because of the talent that I have. I had people who wanted to do that before, but I was clouding that in my mind with all kinds of other stuff. I donāt have to do that, and itās so much clearer now.
I have people like Two Rock looking at me. These are guys that deal with John Mayer, Joe Bonamassa, Robben Ford, and all these other cats. I am so very proud of myself and very thankful to have people like this in my corner. Jimmy Dunlop, St. Blues Guitarsāall the way across the board. Theyāre there because they see something. They believe in me and I believe in myself. When I sit back and listen to this record, I listen to it as though Iām not the one that recorded it. By far, itās a fast and amazing record.
Your guitar sounds bigger than on your past releases.
I agree. I like everything I put out, but when I can say that each record sounds better than the one before, that must mean Iām continually doing something better. Iām going in the right direction.
What is it about Two Rock amps that you like?
Two Rock brought the whole arsenal, dude! They brought everything they have up to Prairie Sun Studios in Cotati, and I just started plugging in. Theyāre predominately known for a different sound than I use.
What sound is that?
Like the Dumble sound that John Mayer has on his more recent stuff, Robben Fordāthose type of sounds. When he heard me doing what I do, he went back to the drawing board and said, āDude, I wanna make you an amp, and I want to incorporate more gain.ā It still gets clean, too, and thatās exactly what I was looking for. You get the woody tone coming out of the amps, along with a nice crunchy rhythm, and a boost that enhances the solo sounds.
That video [Two Rock shot with Gales] is semi-instructional, if you ask me. We were just talking and they said, āCan you just play a little bit so we can put this online to show how you feel about this amp?ā I said, āSure.ā Even through the mic on the video camera, you can still hear the tone coming through the video. You can hear exactly what Iām talking about at any volumeāI couldnāt ask for anything better. Iām so content with them.
Your signature amp is a two-channel amp?
Two channelsāclean and dirty.
Whatās the clean like?
Clean is like a Marshall. Like āHey Joe.ā [Sings the guitar intro to Hendrixās version of āHey Joeā]. It doesnāt have Celestions, but it has a Celestion sound. They make their own Tone Tubby speakers. I havenāt had a chance to take them out on the road because I came here to get myself together.
I know itās the delay, but your records never sound dry.
Itās because of the delay on there. I love delay. Itās gotta be set right though. I like playing something and having it answer back to me in a slow pace. It makes it better for me to be able to channel. Thatās the best way I can describe my enthusiasm for delay.
Tell me about your number one guitar.
My number one is the black one that I was playing in the Two Rock video. Itās a St. Blues and itās patterned off a Strat. It just gives me what Iām looking for. I like my action as low as I can get it without fret buzz. I tune down to E flat, I use 10 ā 46 strings, and I just go for it.
The way I grew up, it donāt matter what [the gear] is. It could be a Sears Silvertone and a Pignose amp. It aināt what it is, itās what you can do with it. St. Blues is from Memphis, Iām from Memphis, so why not go with a hometown place. They are waiting on me to graduate from treatment, and theyāre already putting together the schematics and the layout for the Eric Gales model.
Whatās going to be different about the Eric Gales model?
It may be a left-handed body with a right-handed neckāmaybe. Iām still not sure yet. Itās going to have my flaming guitar logo on it, and itās going to have some really damn good sounding pickups in it. Iām talking with Seymour Duncan right now to see what theyāve got as far as vintage-sounding single-coils. I use a diversity of pickups. Whatever sounds great is what I roll with.
What are you using on the floor?
Iām using a Dunlop Jerry Cantrell Wah, a Dunlop Jimi Hendrix Octavio, and a Chandler Digital Delay. I go stereo out of that into the Two Rock. My feed out goes into two Two Rock 100-watt heads. Itās not necessarily for the volume, but the volume is there if I want it. Itās there for the fullness. I have two 2x12 cabinets, but theyāre going to start making me some 4x12 cabinets.
Youāve gone through some heavy shit. How has this influenced Relentless?
It tells the story. I was able to channel. I was hungry and ready to get what I was feeling out. I believe we captured a really good vibe of intensity and relentlessness. I think Relentless is a great title for this album. I think it describes exactly how the intensity of this record came about.
Any advice for anybody struggling with drugs?
Iām really glad you asked that question because this is what I really want to promote. I would like for people coming up who are going through the circle of what Iām going through, to see that you can overcome these obstacles in life. I want somebody to say, āIf he can do it, I can do it.ā
I never thought I would have been that person. Iām just keeping myself on the straight and narrow, for the powerful message for the next person to be able to say, āThatās who I look up to.ā Not for my skills or talent, but me as a human being addressing things that are going on in my life. Iām standing up to them, and Iām handling it in the right way.
How did you meet Eric Gales?
He was recording at a local studio. I was working on a prototype amp that I thought would be good for Eric. I met him working on the previous album when he used a different Two Rock amplifier. I brought an amp down that had a similar architecture. He really liked it a lot and used it on the album. After that we decided to do a signature model together.
What did he want on the signature model that wasnāt on the prototype?
He wanted less stuff. Our amplifiers have a lot of options, switches, and different EQs. Eric was not into that. He just wanted a live performance amplifier with the same vibe, but all the controls on the front. He wanted a clean tone, an overdriven chunky chord thing, then he wanted full on. He wanted the amplifier to have three different possibilities.
Tell me about the features.
The Eric Gales amp is really not about features. Itās more about his signature sound. Itās an EL34-based amp with a special transformer made for it. It has some of the prettiness of some 6L6 amplifiers, but more controlled and a little more of a compressed EL34 thing. Itās pretty explosive compared to a Marshall, and real responsive.
How many models are there?
We make three versions: A 100-watt, 50-watt, and then a 50-watt with dual rectifiers. Eric uses the 100-watt. On the album he used the 50-watt with dual rectifiers. When we figured out all the different things he wanted, we built him some prototypes. He played them all, then we further tweaked the one that he liked. He liked the 100-watt better.
Tell me about the channel switching.
Itās a two-channel amplifier with no reverb but there are separate tone controls for both channels. Itās pretty versatile. Itās not three channels, but when you hit the tone bypass it does some re-EQing at the same time. He uses the lead channel for his rhythm tone, and the lead with the bypass for his high-gain tone. When you hit the bypass it bypasses the tone circuit. It changes some EQ, opens up the bass and treble controls, and adds a little something back in.
You can go anywhere from a real clean tone to pretty nasty. It maintains a sweetness even at high gain, but maintains harmonic structure. It doesnāt get so compressed that you canāt tell one note from another, or one guitar from another. It still has that clarity.
two-rock.com
Axe-wielders Jake Cinninger and Brendan Bayliss take us through their current gear garages.
Itās been just over 10 years since we had legendary South Bend, Indiana, jam band Umphreyās McGee on Rig Rundown, so when we saw that they were coming to play at Nashvilleās Ryman Auditorium in early April, we figured it was time to reconnect.
Guitarists Jake Cinninger and Brendan Bayliss showed PGās John Bohlinger what pieces of kit theyāre digging these days, and how they orchestrate their incredibly broad range of sounds.
Brought to you by DāAddario.
Simply Z Best
Hereās an up-close look at Cinningerās No. 1, a G&L Comanche. The Z-coil pickups do away with typical single-coil 60-cycle hum issues at high-gain settings. Itās an all-purpose workhorse.
Cinninger replaced the stock trem bar with a Jake Blade, a custom-made replacement patented by Mark Benjamin of RoughGauge LLC. Compared to a regular trem bar, itās out of the way and allows for more expressive playing.
For strings, Cinninger uses DāAddario .10s, and he swears by his beveled-edge Telefunken 2 mm picks.
Special S
Cinninger says only 50 of these G&L S-styles were made, with remarkable pieces of wood and specially designed pickups. This one cuts closer to a classic, throaty Stratocaster sound, and if a venue has quiet, clean power that wonāt present excessive noise issues, itās more likely to be called into action.
Two by Two
Cinningerās signal runs to one amp at a time. The Schroeder head, which is used for cleans, was built with military-spec durability by Tim Schroeder in Chicago and is one of 10. Cinninger says itās got some Dumble qualities, with its clarity, power, consistency, and speed to the speaker, and it connects to a Schroeder cabinet and custom speaker.
The Oldfield Marquis 100-JC, built by Paul Gussler in Charlotte, North Carolina, is the Marshall-flavored side of Cinningerās rig. It handles dirty signals and is connected to classic Electro-Voice drivers.
Jake Cinningerās Pedalboard
Cinningerās board, which he made with his dad, is 25 years old, and itās constantly changing. His always-on boxes include a Banzai Cold Fusion Overdrive, Fuchs Royal Plush Compressor, and Mesa Boogie Five-Band Graphic EQ, plus a Steel Guitar Black Box tube buffer that adds some āairā in the high end.
On top of those, thereās a Boss TU-3, MXR Smart Gate, Radial Tonebone Hot British, MXR Distortion III, Sarno Earth Drive, TC Electronic Flashback, Boss PS-5, Source Audio Soundblox 2 Multiwave Distortion, Malekko Fuzz, Guyatone MD2, Boss PH-3, Morley Bad Horsie, BBE Mind Bender, and a custom āFuzzBucketā fuzz made by a friend.
Utility units include a Lily P4D, Radial BigShot ABY, and Ebtech Hum Eliminator, plus a 9-channel effects switching system.
Sorry, Mark
Meet Miss Lucy. This is a PRS Mark Tremonti Signature, albeit without Tremontiās name on the headstock, and tricked out with the Jake Blade. This one runs a bit hotter than Brendan Baylissā other PRS guitars, and his tech changes the strings on itāDāAddario XL .010sāevery day. Like Cinninger, he digs the Telefunken 2 mm picks.
Also in the stable are another PRS single-cutaway and a double-cut PRS McCarty.
Doubles of the Oldfield
Bayliss runs both a Mesa Boogie Lonestar head and a Gussler-built Oldfield head (which sounds similar to his Lonestar) at the same time. The Mesa runs to a cab with Celestion 12ā³ speakers.
Brendan Baylissā Board
Baylissā board also features the Steel Guitar Black Box, a Lily P4D, Radial BigShot ABY, a Boss TU-3, and a Morley 20/20 Bad Horsie wah.
Aside from those, thereās a Keeley Compressor, MXR Custom Badass Modified O.D., Cusack Screamer, MXR Timmy, Cusack Tap-A-Whirl, Audio Blend Edge EQ, Boss OC-5, Boss CE-5, MXR Phase 95, Eventide H9, Stigtronics Delay, and Boss DD-20.
The country virtuoso closes out this season of Wong Notes with a fascinating, career-spanning interview.
Weāve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this seasonās most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfatherās love of country music, and his first days in Nashvilleāas a student at Belmont University, studying the music industry.
The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.
Wong and Paisley swap notes on fishing and a mutual love of PhishāPaisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature FenderĀ Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake patternāwhich some might describe as āhippie pukeāāand its surprising origin with Elvisā guitarist James Burton.
Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.
Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
As head of Breedlove and Bedell Guitars, heās championed sustainability and environmental causesāand he wants to tell you about it.
As the owner of the Breedlove and Bedell guitar companies, Tom Bedell has been a passionate advocate for sustainable practices in acoustic guitar manufacturing. Listening to him talk, itās clear that the preservation of the Earthās forests are just as important to Bedell as the sound of his guitars. Youāll know just how big of a statement that is if youāve ever had the opportunity to spend time with one of his excellently crafted high-end acoustics, which are among the finest youāll find. Over the course of his career, Bedell has championed the use of alternative tonewoods and traveled the world to get a firsthand look at his wood sources and their harvesting practices. When you buy a Bedell, you can rest assured that no clear-cut woods were used.
A born storyteller, Bedell doesnāt keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories heās collected during his life and travels as part of a three-city clinic trip. At Relicāand stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levinās Washington Music Center in Wheaton, Marylandāhe discussed his guitars and what makes them so special, why sustainability is such an important cause, and how heās putting it into practice.
Before his talk, we sat in Relicās cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the storeās house-specād Bedell parlors while we chatted.
āThe story of this guitar is the story of the world,ā Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, āIām gonna make up the story,ā Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregonās Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization processāin which the building team fine-tunes each instrumentās voice by hand-shaping individual braces to target resonant frequencies using acoustic analysisāand Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitarās warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acousticsāand of any Bedell Iāve had the pleasure to playādelivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, thatās what brought Bedell out to the East Coast on this short tour. āWe have a totally different philosophy about how we approach guitar-building,ā Bedell effused. āThere are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but thereās nobody on a production level.ā And he wants to spread that gospel.
āWe want to reach people who really want something special,ā he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores heās visited, āwho have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.ā
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
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. Epiphoneās 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 āopen bookā headstocks, solid wood construction, and one-piece necks, Epiphoneās Inspired by Gibson Custom Collection brings Gibson Custom designs to the masses, adding to Epiphoneās 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 āopen bookā Gibson-style headstocks on the other models, they give these guitars an undeniably authentic appearance.
āAs Epiphone celebrates over 150 years of guitar craftsmanship, each iconic guitar is a tribute to Epiphone's rich history and dedication to quality,ā says Aljon Go, Epiphone Product Manager, Nashville, Tennessee. āOur āInspired by Gibsonā 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 āInspired by Gibson Customā 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.ā
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, itās 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 Customās ES-335 offerings but purposefully based on a model year that Gibson Custom does not currently reissue ā 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 āopen bookā 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 TechĀ® 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-335ās excellent sustain. For electronics, a pair of USA-made Gibson Custom bucker humbucker⢠pickups are hand-wired to CTSĀ® 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 12ā radius that makes playing first-position chords and solos with string bends further up the neck equally effortless. The Gibson āopen bookā style headstock is equipped with Epiphone Deluxe three-on-a-plate tuners with white buttons and a GraphTechĀ® 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 CTSĀ® 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 timeāthe 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 SGās 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 āopen bookā 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 CTSĀ® potentiometers, Black Beauty paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and output jack. The Vintage Gloss finish is nicely complimented by the nickel hardware, including Epiphone Vintage Deluxe āDouble Ringā 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 ā an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird⢠was Gibsonās 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. KlusonĀ® planetary geared ābanjoā 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, CTSĀ® potentiometers, Mallory⢠capacitors, and a SwitchcraftĀ® 3-way pickup selector toggle switch and 1/4ā 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 worldās most covetedāand valuableāvintage 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 āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā 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 CTSĀ® potentiometers, Black Beauty paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and 1/4ā 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 āSingle Ringā 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 donāt 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 ā an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird⢠was Gibsonās 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. KlusonĀ® planetary geared ābanjoā 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, CTSĀ® potentiometers, Mallory⢠capacitors, and a SwitchcraftĀ® 3-way pickup selector toggle switch and 1/4ā 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 ā57 Goldtop
1957 was the year that the Les Paulā¢, 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 āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā 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 āSingle Ringā 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 CTSĀ® potentiometers, Bumblebee paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and 1/4ā 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 isnāt just a guitar; itās 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 worldās 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 āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā 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 CTSĀ® potentiometers, Bumblebee paper-in-oil capacitors, and a SwitchcraftĀ® 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 āDouble Ringā 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.