A look at how attenuators can play a major role in your rig.
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Power attenuators have been around for decades in various forms, but with the proliferation of enterprising companies and the need to control the various scenarios mentioned above, they have never been as popular as they are today. As much as we love our 50- and 100-watt non-master volume amps, long gone is the need for this kind of power for the majority of us. PA systems have dramatically improved to the point where a 5-watt amp can keep up with the loudest drummer in arena settings and still be heard by allāthe sound man was right! But aside from their ability to reduce the volume of higher wattage amps, many modern attenuators can serve us in ways that range from downright practical to creative tone shaping and beyond. This article will focus on some of the other creative uses of attenuators and will hopefully shine some new light on the ābig volume knobā we know them as today.
Caution: High Voltage
Before even getting into the various uses of attenuators, it should be stated that tube amps carry lethal voltages and you shouldnāt go poking around your ampās innards if you donāt know what youāre doing! Leave that to a qualified tech and save yourself to continue playing guitar another day. That said, this is not a technical article, and I wonāt be asking you to take plate voltage readings or bias your amp, so letās move on!
The Power and the Glory
Sometimes attenuators get a bad reputation for blowing up amps. There may have been some questionable designs in the past that put amps at risk, but these days there are a lot of great choices available that are safe to use. While I personally have never blown an amp while using an attenuator, I do know that if you dime your amp, any parts that are stressed are going to be exposed. And most of us running attenuators are using them because we like the tone of the amp full up, or close to that. Before you fear the attenuator will blow the output transformer on your favorite vintage amp, it might be wise to take it to a qualified tech and have it tuned up. What you may have thought of as a solid and safe amp (because you run an overdrive pedal in front of it with the volume on 3) could be teetering on the edge of destruction if you ramp it up. How are the tubes and tube sockets? What about the filter caps (especially on vintage amps)? Is it properly biased? So many things need to be right when you run an amp full out, just like a car in the Indy 500. And donāt let anyone tell you that vintage Marshalls, Hiwatts and the like werenāt designed to be run on 10. They were, and players have been using them that way for decades! Besides, even at a volume of 6, 7 or 8, youāre dealing with some serious power, so take care of your amp and know its running order before plugging it into an attenuator, or a speaker cabinet for that matter.
To get the best tone and safest performance out of your attenuator, make certain that you are accounting for the power rating of your amp, as well as the impedance that itās set to. The good news is most high-powered tube amplifiers have selectable impedance settings to accommodate various speaker cabinets. Some amps are designed with dedicated 4-, 8- and 16-ohm speaker outputs, while amps like Marshalls have always had a switch or plug that sets the impedance. Attenuators, as in the case of the THD Hot Plate, offer individual models specifically tailored for 2, 2.7, 4, 8 and 16 ohms, while other units like the Weber MASS have adjustable impedance settings all in one unit (2, 4, 8, 16). Others still, such as the Ultimate Attenuator, are designed to accommodate any impedance amp. Every one of these will put their particular tonal stamp on the amp tone due to the various types of attenuation being used. These tonal variations are the subject of much heated debate in various forums, but that discussion is outside of the scope of this article.
Power handling is of utmost concern. You donāt ever want to use an attenuator that canāt take the juice of your amp. A 100-watt tube amp is easily capable of pushing out 150-watts or more peak power, so check with the manufacturer to see what it can handle before plugging in your favorite amp. Personally, Iāve used a Hot Plate for over a decade with my 50- and 100-watt heads and have never had an issue with them dimed for hours on end, five days a week. As long as you match the attenuator to your amp like you would a speaker cabinet, youāll be in good shape⦠youād never run a Hiwatt DR-103 full up through a 1x12 Celestion greenback cab unless you had a death wish for the speaker and the amp!
Many attenuators have extra features on them that can be used for more than just volume reduction. Units like the THD Hot Plate and Weber MASS can be used as a dummy speaker load, allowing you to run the amp without a speaker cabinet. This is an invaluable tool for safely being able to set bias, check operating voltages or anything that requires the amp to be running to diagnose. Prior to specific dummy load devices, techs have used everything from light bulbs to giant resistors to dissipate power while working on a live amp. With the attenuator set to āload,ā just plug the speaker output of the amp into the āamp inputā or similarly named input and youāre ready to go. Whatās nice about this is that while working on the amp you wonāt have to deal with the noise coming from a speaker cabinet and all of the hiss that goes along with a loud amp. Just remember that although you donāt hear any sound or see that electricity, itās there, and itās lethal. Make sure you know what youāre doing, and re-read the caution at the beginning of this article.
The Wet/Dry Rig
If your attenuator has a line out available, you can use it to set up a Wet/Dry rig. A wet/ dry rig is great for keeping the dry tone of your amp intact while bringing in effects on a separate power amp and speaker. Once you have the dry tone set to your liking, take the line out of the attenuator and feed it into the desired effects, then into a separate power amp. Make sure you donāt overload the input of the effects by using the line outās volume control to taste. From there, you can run a second speaker cabinet, effectively slaving the tone of the main amp but with the effects. Controlling the output of the power amp will bring up the āwetā level on the second cab, and you can mix to taste. Of course, this is best used for effects like delay, or any effect that you want on the back end of the tone. Pedals like compressors and distortion boxes are best left to the front end. Make sure if youāre using a delay or reverb that you set the effect to 100% so youāre not bleeding in the dry signal.
Line Out/New Power Amp
If you really want to tame the volume of an amp, but find that the lowest settings on the attenuator suck too much tone out for your liking, you can once again put that dummy load and line out to good use. First, set the attenuator to āload.ā Then, like the wet/dry rig, use the line out to feed a power amp out to the speaker cab of your choice. In essence this is like using a āslave outā that used to be a big mod back in the eighties from the amp hot-rodders. Back then it was used to power yet another head, but these days it can be used to bring the volume down to a controllable level and still retain the full sound of the amp. Will it be exactly the same as with the power section of the main amp? No, but neither will it be the tone of a highly attenuated signal, so itās a matter of taste.
Creative Cabinet Choices
Ever wonder what a Superlead would sound like through an AC30 cab but were afraid to try for fear of blowing the Celestion AlNiCo Blues? Once again, as long as the impedance is set correctly, and the power is scaled back to accommodate the speakers, who says you have to use the same cab as the head was designed for? Many times Iāve been in the studio and knew that the tone of the amp was dialed in, but wanted a different color. Rather than running the typical, closed-back 4x12, I was able to choose between the many different cabs available by attenuating the signal down enough to allow safe operation. Itās a great way to experiment with tone and to further lessen the volume assault. This is great for live situations as well. Imagine how much easier it will be on your back to carry in a 1x12 cab for the gig. Heck, you usually only mic one speaker anyway. You can still get raging tone, just in a smaller footprint (physically and sonically).
Dummy Load/Line Out/Speaker Simulator
For recording or the ultra-adventurous live guitarist, how about ditching the cab altogether? These days with the myriad amp modeling programs and hardware devices, who says you even need a cab to produce a micād speaker tone? Dedicated devices like the Hughes & Kettner Red Box, the Palmer PDI-series of speaker simulators and the fabulous Axe-FX all offer ways of attaining a variety of speaker tones without speakers. As long as you have a dummy load and line out on the attenuator you can accomplish this easily. After setting the attenuator to āload,ā take the line out and feed it directly into the hardware unit. The Red Box Classic offers settings for ācomboā and ā4x12,ā while the Palmer offers an 8-ohm dummy load and multiple settings to simulate a variety of speaker configurations. Highly detailed speaker cab emulations as well as microphone models, reverbs and more can be obtained with the Axe-FX by Fractal Audio Systems.
If youāre in a recording scenario and like to use modeling software, consider bypassing the amp models and just use the mic and speaker models. The variety of software amp modelers is vast with, more products entering the market all the time. Each one of them has its own sound and the options are nearly endless. Youād be surprised how good they sound, and with the no-speaker option you can record at 2 a.m. with your favorite amp. Better yet, if you fire up the studio the next day and donāt particularly care for the sound of the mic/cab combination from the night before, you can change it, because the only thing that was recorded was the tone of the amp. For much more detailed information check out the article, āLook Ma, No Speakers!ā in the July 2008 issue of Premier Guitar.
These are just a few options you can try out with most current production attenuators. There are certainly many more not covered in this article that would be helpful, but thereās only so much space available. The possibilities are endless. That said, we are in a new era of amps and tone, with more amplifier options than ever before. And while amp builders are certainly conscious of designing new amps with lower wattage and features such as power dampening or power scaling, we do still love our high-powered amps. Most of us wonāt have the opportunity to play Madison Square Garden anytime soon, nor do a lot of us have amp rooms where we can crank our rigs up and jam without consequence. Thatās why the attenuator is such a great device. Not only does it act as a big volume knob, it serves us in many creative ways⦠your imagination is really the only limit with what we have available today.
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.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 ā Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels ā Easily switch between two distinct channels, with each channelās knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function ā Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate ā Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C ā Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output ā Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls ā Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4ā (6,35mm) Jack
- Output 1/4ā (6,35mm) Jack
- Headphone Output 1/8ā(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leaderās head. And though his loudness permeates all that he does and has helped cement his reputation, thereās a lot more to his playing.
On this episode of 100 Guitarists, weāre looking at each phase of the trioās long career. How many pedals does J use to get his sound? Whatās his best documented use of a flanger? How does his version of āMaggot Brainā (recorded with bassist Mike Watt) compare to Eddie Hazelās? And were you as surprised as we were when Fender released a J Mascis signature Tele?