
Relief for the tube shortage is ahead, but it’s happened before and could happen again. Here’s the practical—and geopolitical—long view.
“Think about the American and British rock bands trying to get into the Cold War Soviet Union to play rock music that Soviets had never heard—through their British tube amps, with tubes manufactured in Russia.”
That quote, from Sweetwater Senior Category Manager for Amps and Effects Darren Monroe, sums up how much culture and politics can impact every note you play. And that’s especially true regarding tubes. Let’s start with some deep background.
A Brief Post-War History of Tubes
Until the mid-1950s, the vacuum tube ruled the world of electronics. If something needed amplifying, there were countless high-quality variations to choose from. They were in TVs, radios, record players, etc. The world’s armies even got into the game, demanding military-spec options that continue to be among the most sought-after tubes today. So, the little glowing bottles were in high demand, and the industry thrived. But things were about to change.
Seemingly overnight, the solid-state transistor became the go-to platform for countless electronic products we still use today, literally changing the world. They were cheaper to make, smaller, more efficient, and more reliable. They also offered pure, uncolored sound—precisely what you want in a great stereo system.Mike Matthews, the founder of Electro-Harmonix, had the foresight to acquire tube manufacturers, starting in the early 1990s, and today the brand names Tung-Sol, Electro-Harmonix, EH Gold, Genalex Gold Lion, Mullard, Svetlana, and Sovtek are all under the company’s umbrella.
Photo by Mike Chiodo
The First Tube Shortage
The demand for vacuum tubes dried up quickly. Factories that used to produce thousands of tubes daily had to close their doors as they watched orders disappear. Tube manufacturers all but vanished entirely from the U.S. Of course, guitarists still wanted their tubes, but, as Dave Friedman, owner/designer of Friedman Amplification, explains, there weren’t nearly enough 6-stringers to keep the giant industry afloat.
“The guitar tube market is really small in the scope of the tube industry,” he says. “Tubes used to be used in a variety of things, so these huge factories [suddenly] had no demand. They basically became obsolete. That’s when Mike stepped in.”
Friedman is referring to Electro-Harmonix Founder and President Mike Matthews. A legend in the musical instrument industry, Matthews helped write the template for many electric guitar effects pedals. His iconic designs—including the Big Muff, the Memory Man, the Electric Mistress, and the POG—are still going strong today. But many guitarists don’t know that Matthews is a massive presence in the world of vacuum tubes for guitar amplification, and helped save the industry.
It all started with the crumbling Soviet Union. “I took a rock ’n’ roll band to Russia in ’79 for the first exhibit they opened to companies around the world for consumer products,” Matthews recalls. “Only two companies from the U.S.A. went: us and Levi’s. And when I was there, I started thinking about how I could buy products from Russia [to import in the U.S.].”
“The EL34 everyone was using was the German Siemens tube. And in ’90 or ’91, those tubes went away. There were no other EL34s being made.” —Dave Friedman, Friedman Amplification
With his background in effects pedals, Matthews was familiar with integrated circuits (ICs), and dove head-first into importing Russian versions at 15 cents each. He says he made “a killing on them!” But it was only a short time before another trip east, and a respected friend’s approval, inspired the switch to importing tubes.
“In ’88, I saw vacuum tubes on the wall at the Ministry of Electronics [the Soviet Union’s state-run organization responsible for research, development, and production of electronic and electrical devices, from 1965 to 1985]. I took samples to Jess Oliver [famed amplifier designer and former vice president of Ampeg], and he said, ‘They’re good!’ So, I got early customers like Peavey, and the tubes took off!”
But the U.S.S.R. was failing, and panicked Soviet authorities demanded he commit big or leave it all behind. “Because the Soviet Union was starting to fall apart, the companies that made the tubes defaulted on their loans,” he explains. “So, the Russians told me that either I had to buy the factory for $500K or they’d sell to Groove Tubes. So, I sorta had to buy it.” And then he was in the vacuum tube manufacturing business for good.
“It has been a big deal,” says Sweetwater’s Darren Monroe. “In some cases, we even had to take products off the web.”
Building Back the Biz
The early ’90s were another dark time for the vacuum tube industry. Though Matthews was hard at work building his tube operation, he was far from full-strength, and other tube manufacturers continued to disappear. It got so bad that many of the day’s most famous amplifier designers adapted their amps for whatever tubes were available.
Friedman remembers, “When I started in the industry in ’88, Sylvania tubes were around but coming to an end. The EL34 everyone was using was the German Siemens tube. And in ’90 or ’91, those tubes went away. There were no other EL34s being made. Mike Matthews was just starting, so for a short time, everyone switched to the Sovtek 5881, which was a Russian military tube. Even Marshall had 5881s in their amps. EL34s didn’t exist!”
Thankfully, there was hope. As Matthews’ tubes were coming online, Svetlana (who would later be purchased in 2001 by Matthews under the name New Sensor Corporation) emerged as a player in the tube game.
Then came tubes from China. “Slowly, Svetlana came out, Mike came up, and then some Chinese EL34s showed up,” recalls Friedman. Availability stabilized with the entry of Chinese mega-manufacturers Shuguang and Psvane in the international marketplace. In Russia, Matthews grew to absorb the brands Tung-Sol, Mullard, and Sovtek, too. Also, newcomer JJ Electronic showed up in the early ’90s. They earned a name for quality and reliable tubes made in Czechoslovakia, and, after the division of that country, Slovakia.The world now had sufficient vacuum tube manufacturers to furnish guitarists, amp builders, and retailers everywhere. For nearly 30 years, you could get almost any tube from countless retailers and distributors. That changed in 2020.
“At the end of 2019, the Chinese government told Shuguang, ‘we’re closing you down.’ To make things worse, I don’t know if they will be able to open again. They lost all of their skilled workers.”—Mike Matthews, Electro-Harmonix
The Current Shortfall
If you’ve shopped for new tubes in the last couple of years, you might have noticed strikingly few options available, and even more striking price tags on some of the ones that were. Yes, the current tube shortage is real. Guitar amp builders and retailers haven’t been able to rebuild their stock of tubes.
Why? The current shortage began in late 2019/early 2020, when China’s Shuguang factory—then the world’s largest tube manufacturer—shut its doors seemingly overnight. The loss of Shuguang put the tube industry on its heels in a big way, plus the pandemic was looming right around the corner.
“That was big,” acknowledges Matthews. “At the end of 2019, the Chinese government told Shuguang, ‘We’re closing you down.’ To make things worse, I don’t know if they will be able to open again. They lost all of their skilled workers.”
Very few in the industry know the real reason Shuguang was shuttered. Still, with the Chinese government’s penchant for secrecy, theories abound. According to Matthews, the Peking government wanted the factory’s land. Friedman, though skeptical, heard a different story. “They had a fire a while back, but who knows if they were lying,” he says. “Anyway, their whole process still isn’t back. Right now, there is only New Sensor Corporation, JJ, and Psvane. Those are the only manufacturers [although their tubes are sold under many brand names]. So, all your tubes are only coming from three sources."
“The guitar tube market is really small in the scope of the tube industry,” says Dave Friedman. “Tubes used to be used in a variety of things, so these huge factories [suddenly] had no demand. They basically became obsolete. That’s when Mike stepped in.”
Fast forward to today, and the world continues to deal with Covid, labor shortages, international tensions, and all-out war. Varying government ideologies snarl and confuse the production of countless products, and importing and exporting of many products has ground to a halt.
While the Russia/Ukraine war and its political ramifications haven’t officially stopped Matthews and Russian tube production, they have introduced nearly insurmountable challenges to his ability to export goods. Matthews believes this explains the massive price increases, noting, “Western countries have high tariffs on things from Russia, so the costs are up.”
“A tube that used to wholesale for $9 now wholesales for $18,” adds Friedman. “Some 12AX7s are selling at retail for $30 or something! The wholesale side is not much less than that. Russian tubes are kinda off the table at this point.”
The two vacuum tube manufacturers that remained open for business with no limitations were JJ Electronic and Psvane. But both have struggled to keep up with demand. It got so bad that, according to Friedman, “JJ were so back ordered that they hadn’t taken any new orders for a couple of years.”
“A tube that used to wholesale for $9 now wholesales for $18. Some 12AX7s are selling at retail for $30 or something! The wholesale side is not much less than that.”—Dave Friedman, Friedman Amplification
Tube Supply Today
The tube shortage has weighed heavily on the entire guitar industry for a couple of years now. Labor shortages and trade tariffs are a major headache for tube manufacturers, amp builders can’t finish their products, and guitarists can’t keep their amps in working shape. Much of this comes to a head at music retail.
“It has been a big deal,” Sweetwater’s Monroe says, sighing. “In some cases, we even had to take products off the web. There was no way we could deliver. We even explored buying a container full of tubes and getting our own tube-matching equipment. But that was such a huge task that we decided not to do it.”
For large retailers, the problem is twofold. They must have after-market tubes for their customers. Plus, they understand the need to allocate tubes to amp manufacturers, ensuring the tube shortage doesn’t also become an amp shortage. If tube amp builders don’t have tubes, they’re out of business.
“It’s a difficult needle to thread,” Monroe says. “There are a lot of tube amp users out there that need to service their existing amp. We can’t provide that because all the tubes are going to new amps. Yeah, we want to sell more amps but, at the same time, we want to take care of those customers.”
According to Mike Matthews, making tubes in the U.S. "“would cost something like 500 to 600 percent more. The environmental and labor considerations…. It’s a handmade business, and the costs are just way too high.”
Photo by Mike Chiodo
The Cost Factor
Other than JJ Electronic, nearly every vacuum tube today originates from Russia or China. In the ’70s and ’80s, both were promising markets on the global stage. But today, both countries have volatile political climates and have economically distanced relationships with the U.S. that makes trade, including the tube trade, much more difficult and expensive. So, many guitarists in our hemisphere are asking, “Why not just make tubes here in North America?”
Matthews wades in: “You can’t make them in the U.S.A. It would cost something like 500 to 600 percent more. It’s just much too expensive. The environmental and labor considerations…. It’s a handmade business, and the costs are just way too high.”
With the U.S. being a no-go, what about other industrialized countries that manufacture high-quality products while still keeping costs down? Could we produce tubes in Mexico, Indonesia, or Taiwan?
Again, Matthews says no. It’s just too skilled-labor intensive. “It’s a handmade thing. A machine can’t just make the whole tube,” he explains. “There are a lot of different parts that go into one tube. Each of those parts is made separately; then, the whole tube is put together. Tubes require people who have those skills.”
“But it’s a lost art,” Friedman adds. “Almost no one knows anything about tubes anymore or how to build them. All the people that did are dead now. It’s like how houses used to be hand-troweled plaster. Try and find a plasterer today who can do that work. They almost don’t exist. Stuff gets lost over time.”
“I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void.”—Dave Friedman, Friedman Amplification
Emerging Optimism
Just when things are looking very dark, there is a faint light at the end of the tunnel. JJ Electronic is still at it and should accept new tube orders soon. Matthews’ New Sensor Corporation fully expects to make it through Russia’s current political climate. There are even rumors of Chinese powerhouse Shuguang returning.
“I think things are improving,” Monroe says, optimistically. “We’re hearing, ‘We’re getting more tubes in,’ and, ‘We’re going to be able to supply you with tubes.’ So, hopefully, for anyone that couldn’t get tubes through us, we’ll have their tubes in stock soon.”
Also, tubes never entirely went away. Look at any large retailer and you’ll find a selection of EL34s, 6L6s, 12AX7s, and more. Your choices might be limited, and the prices higher, but they’re there. Why? Because the industry saw this coming, reached out to their suppliers, and prepared accordingly.
“We started talking to the Psvane company early,” says Friedman. “We were set up with them and in a good position when this all happened.”
“Guys like Mike Matthews did tell people early on, ‘I’m getting shut down. I’m not going to be able to deliver these,’” says Monroe. “That created a bit of a panic at the time. So, we were able to order ahead and keep sales going.”
Amp Makers Adapt to Survive
Amp builders have been able to adjust to availability the same way they always have—by embracing different tubes and brands. While the name on a tube might say Sovtek, Mullard, or Mesa/Boogie, there’s a good chance it was made in the same factory. And amp builders, unbeknownst to most guitarists, often jump from one brand to another to ensure their customers get the best-sounding and most reliable tubes currently produced.
Friedman explains: “Look, tubes have to sound great, but they also have to be reliable. That’s why I've changed tube makers several times over the years—because of reliability issues. So, whatever amp brand is on a tube [in our amps], it’s just whatever tube deemed the most reliable for right now. And that’s changed a million times over the years.”
While Friedman thinks each tube has its own magic, he also believes that right now there are better ways to spend your tone-chasing money. “There’s a big variety of tubes,” he says. “They have their own gain levels and tone. They all have a sonic signature, and you need to find out what you like. But I’m of the mind, ‘Don’t swap your tubes if they’re working.’ And, if you have an amp you like, figure out what’s in it and replace them with the same tube. Just look for a well-tested tube from a reputable source. There are a lot of great tube matching/screeners out there. So, know what you’re going for and get a screened tube that has a warranty.”
“I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void.”—Dave Friedman, Friedman Amplification
The Future of Tube Amps
Although we seem to be emerging from the tube shortage, if history does repeat itself, this won’t be the last time it happens. Also, let’s not forget the rise of digital modeling and the new generation of solid-state amps that approximate tube tone that have entered the market in recent years.
This leads to the question, “Is this the end of the electric-guitar tube amplifier?” Not according to both Friedman and Monroe. “There is enough of a market that tubes will continue. There’s still money on the table,” Friedman says matter-of-factly. “I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void. And remember, they asked the same thing in the early ’90s. It happens over and over again.”
“Tube amps are as hot as ever,” echoes Monroe. “I’ve been in purchasing for a long time at Sweetwater, and there are just too many amps out there. Someone is going to find a way to keep them going.”New Epiphone inspired by Gibson Custom Collection features eight new guitar models with Gibson USA pickups, high quality electronics, rosewood fretboards, world-renowned Gibson open-book headstocks, one-piece necks, new vintage gloss finishes, and premium design builds.
For over 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has set the stage for the next era of sound for present and future generations. Epiphone’s game-changing Inspired by Gibson Custom Collection, developed in close collaboration with the skilled luthiers at Gibson Custom Shop in Nashville, Tennessee, continues to expand, establishing a new tier of premium Epiphones for every stage. Featuring Gibson USA pickups and premium electronics, world-renowned Gibson “open book” headstocks, solid wood construction, and one-piece necks, Epiphone’s Inspired by Gibson Custom Collection brings Gibson Custom designs to the masses, adding to Epiphone’s full array of instruments for all player levels. Epiphone's Inspired by Gibson Custom Collection is now available worldwide at Authorized Epiphone dealers, the Gibson Garage in Nashville and London, and on www.epiphone.com.
The game-changing Epiphone Inspired by Gibson Custom Collection collaboration with the artisans at Gibson Custom is expanding with eight new models that feature Vintage Gloss finishes that give them a more vintage-correct appearance without looking overly aged. These guitars look as if they had been purchased new and then spent years sitting in a case that was safely stored away, just waiting for you to discover them. All of the models in the Epiphone Inspired by Gibson Custom Collection now feature rosewood fretboards for even greater authenticity and historical accuracy and USA-built pickups from the Gibson Pickup Shop in Nashville, Tennessee. These are the same high-quality, great-sounding pickups in the USA-built Gibson and Gibson Custom models. All of the models feature vintage-appropriate headstock shapes, from the authentic Reverse Firebird™ headstock on the 1963 Firebird V Reissue With Maestro™ Vibrola™ and the 1963 Firebird I Reissue to the “open book” Gibson-style headstocks on the other models, they give these guitars an undeniably authentic appearance.
“As Epiphone celebrates over 150 years of guitar craftsmanship, each iconic guitar is a tribute to Epiphone's rich history and dedication to quality,” says Aljon Go, Epiphone Product Manager, Nashville, Tennessee. “Our ‘Inspired by Gibson’ collection is all about bringing high-quality guitars based on classic Gibson designs, but at a price that won't break the bank. For those looking for something truly special, our newest ‘Inspired by Gibson Custom’ range offers premium models crafted in collaboration with the Gibson Custom Shop. These guitars are part of our ongoing mission to make the exceptional craftsmanship and elevated appointments of the Custom Shop more accessible to players and fans everywhere.”
Explore the full Inspired by Gibson Custom lineup of premium Epiphone models for players of every level HERE.
1962 ES-335 Reissue:
A 1962 vintage-style ES-335 Reissue Inspired by Gibson Custom
The Gibson ES-335™ is one of the greatest guitar designs of all time. It is renowned for its exceptional versatility and has been used by countless players in a wide range of genres. Combining the best elements of solidbody and thinline hollowbody designs, it’s a highly resonant guitar that resists feedback much better than a full hollowbody due to its interior solid maple center block. Now, Epiphone, in cooperation with Gibson Custom, is proud to introduce the 1962 ES-335 Reissue, a guitar that was very much inspired by Gibson Custom’s ES-335 offerings but purposefully based on a model year that Gibson Custom does not currently reissue – 1962, a year when popular features like rounded cutaways, small block inlays, and a fast-playing, slim neck profile were all present on the Gibson ES-335.
The Epiphone1962 ES-335 Reissue has a semi-hollow 5-ply layered maple/poplar body with rounded cutaways and a solid maple center block for outstanding sustain and feedback resistance. The genuine one-piece mahogany neck has a thin 1960s SlimTaper™ C profile and is capped with a rosewood fretboard that is outfitted with 22 medium jumbo frets and mother-of-pearl small block inlays. The fretboard features rounded edges to give it a comfortable, played-in feel that invites you to explore it for hours at a time. Even the side dot position markers are the same size as on vintage 1962 ES-335 models and are placed in historically accurate locations. The Gibson-style “open book” headstock features the Epiphone logo and Gibson Crown inlaid in aged mother-of-pearl and is fitted with smooth-turning Epiphone Deluxe tuning machines with Double Ring Keystone-style buttons and a Graph Tech® nut. An ABR-1 Tune-O-Matic™ bridge and Gibson historic reissue aluminum Stop Bar tailpiece anchor the strings at the other end directly into the solid maple center block and further contribute to the 1962 ES-335’s excellent sustain. For electronics, a pair of USA-made Gibson Custom bucker humbucker™ pickups are hand-wired to CTS® potentiometers and Black Beauty paper-in-oil capacitors and deliver authentic ES-335 tonal versatility, making the 1962 ES-335 Reissue a great choice for rock, blues, jazz, country, and more. The Sixties Cherry and Vintage Burst finishes have a vintage gloss that gives them a cool vintage vibe. A vintage-style Black hardshell case with a plush Goldenrod interior and Inspired by Gibson Custom exterior graphics is also included to help keep this beautiful 1962 ES-335 Reissue safe during storage and travel.
Epiphone 1962 ES-335 Reissue Semi-hollow Electric Guitar - Vintage Burst
62 ES- 335 Reissue, Vin Burst1960 Les Paul Special Double Cut Reissue:
Special in every way
The Gibson Les Paul™ Special was first introduced as a single cutaway model in 1955, and with the exception of the sunburst Standards that were produced from 1958-1960, it was the last of the original50s-era Les Paul model variants to be introduced. An enhanced version of the Les Paul Junior with increased sonic flexibility, it featured two P-90 pickups instead of the single P-90 found on the Junior and also added a bit of extra bling in the form of a bound fretboard and a mother-of-pearl headstock logo. In 1958, the body shape was revised from a single cutaway to a double cutaway, which delivered improved fretboard access, and the Special hit its stride in 1960 when a thinner SlimTaper™ neck profile and a lower neck pickup placement made it more robust and easier to play than ever.
Now, Epiphone, in partnership with Gibson Custom, is proud to introduce the 1960 Les Paul SpecialDouble Cut Reissue, an Inspired by Gibson Custom recreation of the sought-after 1960 Les Paul Specia Double Cut. Like the originals, it features a slab mahogany body with double cutaways that provide excellent access to the entire length of the fretboard. The one-piece mahogany neck has a fast-playing60s SlimTaper profile and is capped with a rosewood fretboard with 22 medium jumbo frets and mother-of-pearl dot position marker inlays. The fretboard has a 12” radius that makes playing first-position chords and solos with string bends further up the neck equally effortless. The Gibson “open book” style headstock is equipped with Epiphone Deluxe three-on-a-plate tuners with white buttons and a GraphTech® nut to help keep the tuning nice and stable, while a historic style Wraparound bridge with intonation screws solidly anchors the strings at the other end and contributes to the excellent sustain that the Les Paul Special is famous for. A pair of USA-made P-90 Soap bar pickups from Gibson Custom that can go from sweet and clean to outright nasty and dirty-sounding are hand-wired to individual volume and tone controls with high-quality CTS® potentiometers and Bumblebee paper-in-oil capacitors for authentic vintage tones that are sure to please even the most tone-conscious players.
The 1960 Les Paul Special Double Cut Reissue comes packaged in a vintage-style case with a brown exterior and pink plush interior that features Inspired by Gibson Custom graphics on the exterior. It all comes together to deliver a vintage playing and ownership experience at an accessible price that is special in every way.
Epiphone 1960 Les Paul Special Double Cut Reissue Electric Guitar - TV Yellow
60 LP Special Double Cut Reissue , TV Ylw1964 SG Standard Reissue With Maestro Vibrola:
An Inspired by Gibson Custom reissue of one of the most beloved vintage SG models
The 1964 SG™ Standard Reissue With Maestro™ Vibrola™ recreates one of the most beloved SG model years of all time–the 1964 SG Standard. While the 1964 SG Standard was famously used by such notable players as George Harrison and Eric Clapton, the model year was a standout for the SG in general. By 1964, the less intuitive Sideways Vibrato had been replaced with the dependable Maestro Vibrola, while the neck profile increased in size somewhat from the ultra-thin neck profiles found on some of the earlier SG models, and the SG’s balance, playability, and look seemed to come into its own. 1964 was also the first full year that the SG dispensed with the Les Paul moniker it previously used. Now, Epiphone is proud to release the 1964 SG Standard Reissue With Maestro Vibrola, a stunning recreation of that legendary model. Made in collaboration with Gibson™ Custom, the Epiphone 1964 SG Standard Reissue With Maestro Vibrola is the most authentic recreation of the 1964 SG Standard ever released by Epiphone.
All of the classic appointments the 1964 SG Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and an aged mother-of-pearl Gibson crown headstock inlay on the Gibson-style “open book” headstock. The center-seamed, two-piece mahogany body features the comfortable and distinctive bevels that help define a vintage-style SG and make it so comfortable to hold and play. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish is nicely complimented by the nickel hardware, including Epiphone Vintage Deluxe “Double Ring” tuners. A black hardshell case with Inspired by Gibson Custom graphics, gold hardware, and a goldenrod interior is also included.Epiphone 1964 SG Standard Reissue Electric Guitar - Cherry Red
64 SG Std w/Maestro Vibrola Reissue, Chrry Red1963 Firebird V Reissue With Maestro Vibrola:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through- body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.Epiphone 1963 Firebird V Electric Guitar - Polaris White
63 Firebird V Maestro Vibrola Reissue, Polaris Wht1959 Les Paul Standard Reissue:
A 1959 vintage-style Les Paul Standard Reissue Inspired by Gibson Custom, now with a rosewood Fretboard
The 1959 Gibson Les Paul™ Standard is one of the world’s most coveted–and valuable–vintage guitars. It has been embraced by numerous famous players, including Peter Green, Kirk Hammett, and Joe Bonamassa. The 1959 Les Paul Standard is very similar to the 1960 model year that followed it, but with a few differences, most notably, a somewhat beefier 1959 Rounded Medium C neck profile that many players prefer over the thinner SlimTaper™ profile found on the 1960 Les Paul Standard models. Now, Epiphone is proud to introduce the Epiphone 1959 Les Paul Standard Reissue, a beautiful recreation of those rare 1959 Les Paul Standard models. Made in partnership with Gibson Custom, the Epiphone 1959 Les Paul Standard Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1959 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, an authentic 1959 Rounded Medium C neck profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock.
Even the side dot position markers are the same size as on vintage 1959 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are first class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Single Ring” Keystone button tuners. A Brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard, but don’t want to sell the house to afford one.
Epiphone 1959 Les Paul Standard Reissue Electric Guitar - Deep Cherry Sunburst
59 LP Std Reissue, Deep Chrry Sunburst1963 Firebird I Reissue:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird™ V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.1957 Les Paul Goldtop Reissue:
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ’57 Goldtop
1957 was the year that the Les Paul™, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker™ pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic™ bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features
that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. It has a genuine mahogany body with a carved, plain maple cap. It is finished in a new Vintage Gloss version of the classic Gold color that gives it a vintage appearance without looking overly aged. The one-piece genuine mahogany neck has a 50s Rounded Medium C profile and a long neck tenon for excellent stability and sustain. The bound rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets, just like the original models from 1957. It has an aged mother-of-pearl Epiphone logo and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1957 Les Paul Standard models and are placed in historically accurate locations. The hardware is nickel-plated, including the ABR-1 Tune-O-Matic bridge, historical aluminum Stop Bar Tailpiece, and the Epiphone Deluxe “Single Ring” Keystone button tuners. The electronics are also first-class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. A historic-inspired hardshell case with a Brown exterior and pink plush interior and Inspired by Gibson Custom Graphics is also included. The 1957 Les Paul Goldtop Reissue isn’t just a guitar; it’s a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
Epiphone 1957 Les Paul Goldtop Reissue Electric Guitar - Goldtop
57 LP Goldtop Reissue, Goldtop1960 Les Paul Standard Reissue:
A 1960 vintage-style Les Paul Reissue Inspired by Gibson Custom, now with a rosewood fretboard and new Vintage Gloss finish
The 1960 Gibson Les Paul™ Standard is one of the world’s most coveted vintage guitars. It has been embraced by such luminaries as Eric Clapton, Paul McCartney, and Joe Walsh. The 1960 Les Paul Standard is very similar to the famous 1959 model year that preceded it, but with a few changes, most notably, a thinner and faster-playing SlimTaper™ neck profile that many players prefer over the somewhat beefier 1959 Les Paul Standard neck profile. Now, Epiphone is proud to introduce the Epiphone 1960 Les Paul Standard Reissue, a beautiful recreation of those vintage 1960 Les Paul
Standard models. Made in partnership with Gibson Custom, the Epiphone Les Paul Standard 1960 Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1960 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1960 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Double Ring” Keystone button tuners. A brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard but who want a more comfortable neck profile.Epiphone 1960 Les Paul Standard Reissue Electric Guitar - Washed Cherry Sunburst
59 LP Std Reissue, Washed Chrry SunburstENGL, renowned for its high-performance amplifiers, proudly introduces the EP635 Fireball IR Pedal, a revolutionary 2-channel preamp pedal designed to deliver the legendary Fireball tone in a compact and feature-rich format.
The EP635 Fireball IR Pedal brings the raw power and precision of the ENGL Fireball amplifier into a pedalboard-friendly enclosure, offering unmatched flexibility and tonal control for guitarists of all styles. This cutting-edge pedal is equipped with advanced features, making it a must-have for players seeking high-gain perfection with modern digital convenience.
Key Features:
- Authentic Fireball Tone – Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels – Easily switch between two distinct channels, with each channel’s knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function – Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate – Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C – Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output – Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls – Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4” (6,35mm) Jack
- Output 1/4” (6,35mm) Jack
- Headphone Output 1/8”(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C
We are excited to share that Mod® Electronics is launching a new line of Vintage Amplifier DIY kits,beginning with five models.
These vintage amplifier kits offer enthusiasts the opportunity to construct vacuum-tube-driven circuits from scratch resulting in their own hand-built equipment. Each kit includes all necessary components to build an amp including the chassis and components, as well as comprehensive, colorful, easy-to-follow instructions. These kits are available standalone, or can be paired with a matching cabinet and/or speaker.
These kits are available in the following circuits and cabinets:
- 5F1 - 5 Watt, Tweed Champ style - Amp kit only - $385.95, Amp kit + Speaker + Cabinet (complete build) - $720.90
- 5E3 - 12 Watt, Tweed Deluxe style - Amp kit only - $565.95, Amp kit + Speaker + Cabinet(complete build) - $968.51
- AA764 - 5 Watt, Blackface Era Vibrato style - Amp kit only - $535.95, Amp kit + Speaker + Cabinet(complete build) - $964.82
- AA1164 - 12 Watt, Blackface Era Reverb style - Amp kit only - $695.95, Amp kit + Speaker +Cabinet (complete build) - $1093.49
- AB763 - 22 Watt Blackface Era Reverb style - Amp kit only - $855.95, Amp kit + Speaker + Cabinet(complete build) - $1354.49
Mod® Kits cater to musicians of all skill levels, providing an accessible way to build custom amps and effects pedals. To help you choose the right project for you, each kit has a build difficulty rating.The kits come with user-friendly instructions and utilize point-to-point wiring. Each kit includes a pre-drilled enclosure and all necessary parts; you'll just need to supply basic hand tools, a soldering iron, and solder.
Available now at Amplifiedparts.com.
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?