
These DIY mods just may change the way you play.
All wiring mods are not created equal. Some add a bit of convenience or a subtle new shading, while others are radical departures that open new creative avenues for the adventurous guitarist.
Consider so-called “vintage" or “'50s-style" wiring, in which the tone pot and cap are connected to the middle lug of the volume pot rather than the usual third lug. Given the sheer number of posts the topic has amassed on guitar-geek sites, you'd think it was an earth-shaking option. Yeah, it's a cool mod that I happen to dig, but really, the sonic benefit is modest: just a bit less loss of brightness when you dial down the volume.
These projects aren't like that. Each one drastically alters your guitar's available tones and the ways you access them. They can literally change the way you play.
This article assumes you're familiar with basic soldering techniques. If not, check out a few YouTube soldering tutorials. I don't have to remind you to follow all suggested safety guidelines, do I? (Okay—you're reminded.)
Sometimes the best way to add power to your low tones is to remove a bit of bass.
Mod #1: PTB Tone Control
What it is: A variation on the two-band tone circuit that Leo Fender created late in his career for G&L guitars. It employs two tone pots: One cuts highs like a conventional tone control, while the other filters out lows. PTB stands for “passive treble/bass."
The benefits: This mod is a godsend for players seeking greater control over their distortion sounds, especially with humbuckers. When playing clean, the results are relatively subtle. But when you pour on the gain, even tiny adjustments to your signal's bass content can add clarity, punch, and welcome variation to your crunch tones.
Just ask any savvy stompbox builder or low-tuned 7-string player: Sometimes the best way to add power to your low tones is to remove a bit of bass. That's because the lowest frequencies in your signal disproportionately overdrive your amp and effects. Siphoning off just a bit of bass can add clarity and focus. At extreme settings, the filtering can produce sharp, squawking tones akin to those of a '60s treble booster pedal (not a bad thing). If you've ever grappled with high-gain tones that make your amp fart out, here's your flatulence remedy.
The cost: The original G&L scheme calls for alternate pot values, but the project here uses the 500K pots found in most humbucker guitars, so all you need are wire, solder, and a few capacitors. On a three-knob guitar, you wind up with one master volume control and two master tone controls, but you sacrifice individual volume controls for each pickup.On a four-knob guitar, you still have independent volume controls, but you lose the independent tone controls.
How it sounds: Ex. 1a demonstrates the treble-cut control—nothing surprising here. Ex. 1b features the bass-cut. With a clean tone like this, it's a bit subtle, though you can hear the difference if you focus on the low notes. But Ex. 1c adds a vintage-style germanium Fuzz Face with the gain and volume maxed. With the guitar's tone control wide-open, the signal easily overpowers my vintage Fender brownface—your typical Fuzz Face fart. As I gradually trim bass via the guitar, the tone acquires greater punch and clarity. I remain on the neck pickup throughout—the only thing changing is the guitar's bass pot setting. The extreme-cut settings near the end of the clip may sound harsh in isolation, but they can be perfect in a band context. At the end of the clip I max the bass pot again to underscore how much the tone has changed. It ain't subtle.
How it works — Diagram 1a depicts Leo's original schematic:
The signal from your pickups or pickup selector gets routed to two tone pots. The 500k pot and .022 µF capacitor provide a conventional treble-cut control. Meanwhile, the 1M pot and smaller .0022 µF cap filter out lows. (Pay careful attention to the zeros and decimal points in those cap values!) The treble cut creates its effect in the usual way: by diverting signal to ground. But the bass cut doesn't go to ground at all—the low-filtering cap is inline with your signal. Its output goes to the volume pot (250k in the original). Clever!
Diagram 1b shows my adaptation for three-knob humbucker guitars, using the extant 500k pots:
For visual clarity, I've indicated ground connections with a down-facing triangle. As you probably know, all ground wires must be electronically connected to each other. (One convenient method is to solder all pickup ground wires, the output jack ground, the pickup selector ground, and the bridge's ground wire to the back of the volume pot, and then run a jumper wire to ground the treble control. In conventional wiring, all pots must be grounded, but here, it's not necessary to ground the bass pot.)
Diagram 1c is a version for four-knob guitars, such as traditional Les Pauls. The only difference: On three-knob guitars, the signal usually goes from the pickups to the pickup selector to the pots. But on four-knob guitars, the volume pots are upstream from the pickup selector to permit independent volume control per pickup.
DIY walkthrough: You don't necessarily need to perform the steps in this order—it's just one method.
Photo 1a
Since I have no idea how your guitar is currently wired, I've started with a fresh set of pots. My demo guitar is a three-knob Hamer 20th Anniversary, which has its pickup selector in the control cavity alongside the pots [Photo 1a.]
Photo 1b
In Photo 1b I've completed the ground connections as described above, though I've connected the output jack's ground to the back of the treble pot. The white wire is the pickup selector output, connected here to lug 3 of the treble pot. (Remember: When viewing pots from the back, lugs down, lug 3 is on the left, and lug 1 is on the right.) This wire usually connects to lug 3 of the volume pot, but this circuit routes the signal through the bass pot first.
Photo 1c
In Photo 1c I've added the treble-cut capacitor between lug 2 of the treble pot and ground. I used a .022 µF (also known as a 223). For more cut, try a larger value, such as .033 µF (333) or .047 µF (473). The larger the cap, the greater the cut.
Photo 1d
Photo 1d adds the bass-cut components. Since the output from the pickup selector must feed both tone pots, I've run a wire from lug 3 of the treble pot to lug 3 of the bass pot. I've added a .0015 µF (152) cap between lugs 3 and 2. Here, pot values work in the opposite direction: the smaller the cap, the greater the bass cut. If the .0015 µF sounds too extreme, try stepping up to a .0022 µF (222). I've added a wire to the bass pot's lug 2, which connects to the volume pot's lug 3. Connect the volume pot's lug 2 to the output jack, and you're done.
A reverse-log bass pot? While you can get fine results using your guitar's extant pots, the original G&L circuit calls for a 1M reverse-log pot (the “C" in C1M signifies reverse-log). With a standard audio-taper pot, the effect comes on quickly near the top of the pot's range. With a reverse-log pot, you get a gradual onset of the bass cut that may be easier to fine-tune. The problem is, it's almost impossible to find a C1M pot in a standard 24 mm format. You can get a 16 mm version from stompbox parts suppliers, but it won't work in Les Pauls requiring long pot shafts. After experimenting with various options, I've gone back to a standard 500k pot, because when I reach for that control, I usually want the lows to evaporate quickly.
Mod #2: Nashville Strat
What it is: A Stratocaster version of “Nashville wiring," a trick Telecaster mod popularized by Music City's session cats. Some Tele players add a third pickup (plus a blend knob), expanding the range of combined-pickup tones. The same wiring performs brilliantly in a Strat—without the cost and hassle of installing a third pickup.
The benefits: Access to a stunning array of combined-pickups sounds, including the outer pickups together—a gorgeous color not available from conventional Strat wiring. Not only can you choose between four cool combined sounds, but you can also vary the blend for subtler effects than those of a traditional Strat's 2 and 4 positions.
No matter what position the pickup selector is in, you always have access to the so-called “out of phase" sounds via the blend pot.
The costs: This mod requires a Tele-style 3-position pickup selector in lieu of a Strat's usual 5-position switch. You also sacrifice the sound of the middle pickup alone. The middle knob becomes a pickup blend control, while the third knob serves as a global tone control.
How it sounds: Ex. 2 showcases an assortment of combined-pickup tones not available on a conventional Strat. (The demo guitar is a “parts" Strat with three lipstick-tube pickups. While their character differs from those of traditional Strat pickups, it's a good representation of the range of available tones.) You also have access to the traditional position 1 and 5 tones.
Playing guitars wired this way changed how I view combined-pickup sounds. Whatever position the pickup selector is in, you always have access to the so-called “out of phase" sounds via the blend pot. The blend control becomes something like a camera's aperture setting: In minimum position, sounds are direct and crisp. As you advance the knob, tones become softer, prettier, and more diffuse. I find this to be a more musical and intuitive approach to tone sculpting.
Diagram 2
How it works: The neck and bridge pickup are wired as on a traditional Tele, with the pickup selector's middle setting combining the two pickups. Meanwhile, the middle pickup is routed directly to the output jack, bypassing the tone and volume controls (Diagram 2).
That may seem counterintuitive: Wouldn't you want the tone control to affect both pickups in combined-pickup settings? But it just seems to sound better this way. Rolling back the treble on combined-pickup tones tends to rob them of their cool phase-cancelled character. This way, tones still get darker/warmer when you dial back the treble, yet retain a nice airiness. Try it and see!
DIY walkthrough: In Photo 2a I've replaced the Strat's 5-way pickup selector with a Tele-style 3-way. I've threaded a wire through the two leftmost lugs of the selector's spring side and the two rightmost lugs on the opposite side. Additionally, I've connected the bridge and neck pickups as shown in Diagram 2.
Photo 2b
In Photo 2b I've added all the ground connections. The three pickup ground wires, output ground, and bridge ground are all soldered to the rear of the volume pot, with additional wires grounding the blend and tone pots. (All pots must be grounded in this circuit. It doesn't matter where they connect physically, so long as they connect electronically.)
Photo 2c
You must connect both the volume and blend control outputs to the output jack. In Photo 2c I've removed the jack plate to install a second wire that will connect to lug 2 of the blend pot. (Alternately, you could add a Y-joint inside the main control cavity, reinforcing the connection with heat-shrink tubing.)
Photo 2d
Photo 2d shows the volume pot connections. One output jack wire connects to lug 2, while the pickup selector output (the rightmost lug on the non-spring side, as viewed in this orientation) connects to lug 3. Lug 1 is bent and soldered to the side of the pot for a ground connection, per usual.
Photo 2e
The blend control wiring appears in Photo 2e. The hot wire from the middle pickup connects to lug 3, bypassing the tone and volume controls. The second output jack wire connects to lug 2.
Photo 2f
Photo 2f shows the tone pot wiring. Lug 3 connects to the volume pot's lug 3. Solder one end of the tone-cut capacitor to lug 2, and the other to the back of the pot, grounding it. I've used a .022 µF (223), a standard value, though you can step up to .033 µF (333) or .047 µF (473) for a stronger effect—the larger the cap, the greater the treble cut. If you like the sound of your current tone cap, just reuse it here. And that's it!
Bonus bridge pickup tip: Like many Strat users, I have a love/hate relationship with the traditional bridge pickup. It works great when you want a clear, piercing sound, but tends to be short on mass. Some players remedy this by installing humbuckers or other higher-output pickups in the bridge position. But instead of trying to coax Gibson tones from a Strat bridge pickup, I prefer a Tele-style bridge pickup sized for Strats, such as the excellent Seymour Duncan Twang Banger. With its Tele-style metallic base plate, it provides tough, edgy tones with more mass than traditional Strat pickups—without relinquishing that fine Fender sizzle.
Capacitor Cheat Sheet
Are you confused by capacitor nomenclature? Join the club!
To gain a thorough understanding of how caps work and how they're labeled, Google “capacitor values." In the meantime, here's a handy cheat sheet showing the most common cap values for guitar applications.
The first number in each pair is the value in farads, the unit used to measure capacitance. The “µF" signifies microfarad—a millionth of a farad. People often substitute “uF" for “µF" to avoid the hassle of using a Greek letter. It's also sometimes written as “MFD."
The second number in each pair is the shorthand way of indicating these values, and that's usually the number you find on the caps themselves.
The values appear in ascending order. The ones highlighted in green are typical values for conventional treble-cut tone controls. The ones in red are good starting values for the bass-cut controls in these projects. If a particular value doesn't work for you, just step up or down in value till you hear what you like.
- .0001 µF (101)
- .00015 µF (151)
- .00022 µF (221)
- .00033 µF (331)
- .00047 µF (471)
- .00068 µF (681)
- .001 µF (102)
- .0015 µF (152)
- .0022 µF (222)
- .0033 µF (332)
- .0047 µF (472)
- .0068 µF (682)
- .01 µF (103)
- .015 µF (153)
- .022 µF (223)
- .033 µF (333)
- .047 µF (473)
- .068 µF (683)
- .1 µF (104)
Capacitor hacks. If you find yourself lacking the perfect cap value, remember that you can wire together two caps in parallel, as shown in Photo 1e.
Mod #3: Varitone Variation
What it is: The original Varitone, which appeared in such vintage Gibsons as the ES-345 and ES-355, is a controversial circuit. In lieu of standard treble-cut caps and pots, it employs a rotary switch, with each position routed through a different-sized capacitor. It also calls for an inductor, which creates a series of notch filters. (In other words, the circuit doesn't remove all signal above a certain frequency, but only a certain amount above and below that frequency.)
While the Varitone has its fans, it was never very popular. Detractors argue that it sucks tone, and its settings are too thin and “quacky" for many players. But even if you don't dig the original Varitone sounds, you can use its general concept to great effect. (For example, if you omit the inductor, you lose a bit of the peaky resonance that alienates some players.)
You might want to deploy your pots for something other than the traditional uses—controlling onboard effects, for example.
The benefits: Multiple capacitor schemes can provide instant access to a wide range of favorite settings, plus others not available from a conventional tone control. Instead of fiddling with a pot, you can leap to the desired tone with the flick of a switch.
The cost: When you replace a tone pot with a tone switch, you lose access to settings that “fall between the cracks" of the switch positions. You also need various switches and caps, depending on how you configure the mod.
How it sounds: I wired up a multi-cap, two-switch tone circuit in a “parts" Jazzmaster with P-90s and flatwound strings. Ex. 3a demonstrates my three treble-switch settings. You hear my three bass-cut settings in Ex. 3b. As with the PTB mod, the variations can be subtle with clean tones. But when I add a custom germanium booster in Ex. 3c, everything gets much more dramatic. The entire clip is performed on the bridge pickup—the only things changing are the tone switch settings.
Multi-capacitor switches let you choose your own set of cutoff frequencies, but once a capacitor is engaged, it's engaged all the way. So instead of cutting varying amounts of signal at a fixed frequency, you cut fixed amounts of signal at varying frequencies.
Diagram 3a
Diagram 3a shows the basic idea. The center lug of the rotary switch connects to lug 3 of your volume pot, like a conventional tone control. You weave capacitors of escalating value through the lugs lining the pot's perimeter, so that when you move the switch, a new cap is engaged. The other terminals of the caps go to ground—usually by bundling them together, wrapping them in heat-shrink tubing, and soldering the assembly to a ground point. (Most rotary switches let you specify the number of active positions via a notched washer on the pot's shaft.)
Photo 3a
This is a cool mod, but there's one good reason not to bother: Someone beat us to it. This is precisely how Stellartone's ToneStyler replacement tone pots work. They're fine products, and if you can afford the cost (models start at $75 street), I recommend them. Photo 3a shows my homemade part alongside a ToneStyler—which would you rather put in your guitar? (Plus, I hate the stiff, clunky feel of the commonly available rotary switches.)
Instead, let's look at an approach that uses mini-switches rather than a big rotary switch. These limit you to three settings per switch, as opposed to as many as a dozen from a rotary switch. But there are at least two good reasons to go this route: It's easy to install mini-switches on almost any guitar, while adding pots can be problematic. And there are times when you might want to deploy your pots for something other than the traditional uses—controlling onboard effects, for example. (Which, by the way, is the subject of an upcoming Premier Guitar article.)
Diagram 3b
There are many types of mini-switches, but this project calls for the on/on/on DPDT variety, which have two rows of solder lugs and three switch positions. Diagram 3b shows how they work—and how to configure them as treble-cut and bass-cut controls.
A 3-position treble-cut switch. For a treble-cut switch, connect the input to the left-center lug, and a ground wire to the right-center one, as shown in Photo 3b.
Photo 3c
With the switch in the down position, the signal gets routed through whatever you connect to the top two lugs. In Photo 3c I've threaded the first of two treble-cut caps—a .022 µF (223)—through the top lugs.
Photo 3d adds a second tone cap—a .0033 µF (332)—between the lower-left lug and the upper-right one. This is engaged when the switch is in the middle position. There's nothing between the two lower lugs—when the switch is in the up position, no tone cap is active, and your tone is wide-open.
My cap values are customized for the way I tend to use treble-cut controls: either to take off a bit of edge, or to get very dark. Configured this way, I get an open sound when the switch is down. In the middle position, there's a slight treble cut from the relatively small .0033 µF cap. And in the up position, I get a much darker tone via the larger .022 µF cap. You can vary these values to taste—just remember that larger caps cut more treble.
Photo 3e
A 3-position bass-cut switch. The wiring is similar for a bass-cut switch, but with one key difference: While the treble-cut routes signal to ground, a bass-cut must be inserted within the signal flow, just as in the PTB project above. The signal comes in via the left-middle lug, and exits via the right-middle one, as shown in Photo 3e. Also, I've added a jumper wire between the two lower lugs, so when the switch is in the up position, signal is routed through the switch without encountering a capacitor. (To reverse the orientation, just flip the switch 180 degrees.)
Photo 3f
In Photo 3f, I've added two capacitors, as in the treble-cut circuit. I used a .0033 µF (332) for a slight bass cut in the middle position, and a .0015 µF (152) for a more extreme cut. Choose your own cap values, bearing in mind that the smaller the cap value, the greater the bass cut.
Diagram 3c
Finally, Diagram 3c shows my two-switch/six-setting tone control as heard in Ex. 3c. With the values I used, the result is similar to the PTB mod above, but with two added advantages: I can toggle quickly to the exact tone I desire. And by drilling two small holes in my pickguard to accommodate the mini-switches, I freed up my former tone pot for another task: controlling an onboard booster.
Mods à la mode. I urge adventurous solder jockeys to try all three mods. They're easily reversible (except for pickguard drill holes), and even if you don't dig the results, I'd be surprised if the process didn't suggest alternate ideas more to your taste. You'll learn volumes about guitar electronics as you uncover your ultimate mod.
[Updated 11/30/21]
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Axe-wielders Jake Cinninger and Brendan Bayliss take us through their current gear garages.
It’s been just over 10 years since we had legendary South Bend, Indiana, jam band Umphrey’s McGee on Rig Rundown, so when we saw that they were coming to play at Nashville’s Ryman Auditorium in early April, we figured it was time to reconnect.
Guitarists Jake Cinninger and Brendan Bayliss showed PG’s John Bohlinger what pieces of kit they’re digging these days, and how they orchestrate their incredibly broad range of sounds.
Brought to you by D’Addario.
Simply Z Best
Here’s an up-close look at Cinninger’s No. 1, a G&L Comanche. The Z-coil pickups do away with typical single-coil 60-cycle hum issues at high-gain settings. It’s 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, it’s out of the way and allows for more expressive playing.
For strings, Cinninger uses D’Addario .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 won’t present excessive noise issues, it’s more likely to be called into action.
Two by Two
Cinninger’s 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 it’s 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 Cinninger’s rig. It handles dirty signals and is connected to classic Electro-Voice drivers.
Jake Cinninger’s Pedalboard
Cinninger’s board, which he made with his dad, is 25 years old, and it’s 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 “air” in the high end.
On top of those, there’s 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 “FuzzBucket” 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 Tremonti’s name on the headstock, and tricked out with the Jake Blade. This one runs a bit hotter than Brendan Bayliss’ other PRS guitars, and his tech changes the strings on it—D’Addario XL .010s—every 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 12″ speakers.
Brendan Bayliss’ Board
Bayliss’ 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, there’s 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.
We’ve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this season’s most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfather’s love of country music, and his first days in Nashville—as 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 Phish—Paisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature Fender Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake pattern—which some might describe as “hippie puke”—and its surprising origin with Elvis’ 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.
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