GALLERY: Stevie Ray Vaughan Gear
A look at some of Stevie's guitars, amps, and effects from the book, Stevie Ray Vaughan Day By Day, Night After Night His Final Years, 1983-1990.
As one of the most influential guitarists to ever pick up a Strat, Stevie Ray Vaughan left a Texas-sized mark on guitardom that is still felt decades after his untimely passing on August 27, 1990. In the early '80s, his unique brand of Hendrix and Albert King-inspired wailing expanded outside his native Lone Star state, and soon he was on the road and rubbing elbows with his heroes.
Stevie Ray Vaughan: Day by Day, Night After Night—His Final Years, 1983-1990
In Craig Hopkins' new book, Stevie Ray Vaughan: Day by Day, Night After Night - His Final Years, 1983-1990 [Backbeat Books], you can see a virtual day-by-day account of highlights from the last seven years of SRV's life. Hopkins conducted several hundred interviews with many of Vaughan's closest friends and family in an effort to create the definitive work on Vaughan's legacy. Here, we present Hopkins' information on Vaughan's gear.
He says, "The first two secrets to Stevie’s tone are his soul and his hands, so you are defeated before you even begin in your quest for his tone. For those who are interested, the following is the best I can do for you in answering gear questions."
Acquired by Stevie in 1974 from Ray Hennig's Heart of Texas Music, Austin, Texas. Price: $0; value now estimated at $1,000,000.
Age: Number One was disassembled by Fender Custom Shop employees in 2003, and they stated that the neck is from December '62 and the body is a '63. So Number One can rightly be called a '63 Strat. Pickups are 1959, which is why Stevie referred to it as a '59.
Neck size: Nut width is the typical 1-5/8" and the neck profile is "D."
Neck adjustment: .012" relief at the 7th and 9th frets, leveling out for the remainder of the fingerboard.
Fret wire: .11" wide by .047" tall. Original height likely .055". No particular brand or size of fretwire the tallest bead and smallest tang that would fit in the fingerboard without damaging it. They were not bass frets. In the early to mid-80's the fret wire was Dunlop 6100.
Fingerboard: Veneer rosewood (most other rosewood fingerboard Strats of Stevie's had slab-boards). Radius is flatter than the standard vintage 7.25" radius due to at least two refrets, creating a 9" or 10" radius in the upper register.
String height: High action for clear, ringing tone. At the 12th fret: 5/64" on the treble E, 7/64" on the bass E. Each string with three full winds on the tuning machines for best angle at the nut.
String gauge: GHS Nickel Rockers .013, .015, .019 (plain), .028, .038 and .058. Stevie would use .011 Es when his fingers were sore. Always tuned down a half-step.
Saddles: vintage replacement saddles, not matched, modified to minimize the severity of the angle of the string break over the contact point to reduce string breakage. The strings were also run through a small piece of plastic tubing from inside the tremolo block hole beyond the saddle contact point, also to reduce string breakage. The block/bridge top plate is also ground to eliminate the sharp edge where the string contacts the metal.
Nut: Fender-style, but made of bone. (Brass nut on Scotch and Red for studio work)
Tremolo: stainless steel Fender tremolo bar (cotton at the bottom of the block hole to ease removal of broken bars). Graphite and grease lubricant on all moving parts and contact points. The lefty bar is non-original to the guitar. Stevie used all five springs on the tremolo. In photos from 1983-85 one can see a much heavier gauge tremolo bar on Number One. These were made by Stevie's roadie's father. Some were straight (as in the photos from the In Session recording with Albert King) and some were bent (as used at the El Mocambo in 1983). Approximately ten of these custom bars were made either to reduce the number of broken tremolo arms (Stevie still broke them), or merely because the threads in the left-hand trem block were stripped and retapped, requiring the larger gauge.
Pickup height: on the treble side - very high. Laying a metal rule on the frets, the bridge pickup touched the rule, the middle pickup almost touched it, and the neck pickup was 1/16" from the rule. On the bass side, bridge 1/32", middle 1/16", and 1/32" neck.
Tuners: started with original but were replaced at least twice.
Misc.: The gold-plated hardware was not added until late '85 or early '86. Five-way pickup switch is non-original.
Pots: stock Fender 250k. In the last tone position, a push-pull pot to cut down on hum, a dummy coil to prevent buzz, and different value capacitors to preserve the original tone.
Prior to July 1990, the original neck from Number One was retired because it couldn't take another refret job. The original '62 neck from "Red" was put on Number One (Red's neck was changed to a non-Fender left-handed neck in 1986). It was the "Red" neck that was broken into pieces by a falling sound baffle after a show in New Jersey. After that, Number One had a new Fender neck until after Stevie died, when the original Number One neck was reinstalled on it.
Acquired on April 29, 1984, a gift from Billy Gibbons (ZZ Top), crafted by James Hamilton. Two-piece maple body, neck through the body design. Originally with EMG preamped pickups, René installed vintage Fender pickups. Fingerboard is ebony with inlaid mother-of-pearl. The original active pickups were replaced (after they were damaged in the filming of the “Couldn’t Stand the Weather” video) with passive pickups. It is said that Stevie didn’t want to get Number One wet during the filming and didn’t like the pickups on Main, so it was used in the video. It is also said that the guitar was coated in beeswax to protect it from the water used in the video. Jim Hamilton made a few genuine copies of the guitar, but there are many imitations made overseas.
A gift from Charley Wirz of Charley’s Guitar Shop, Dallas, in 1984. A hula girl sticker was applied to the back of the guitar and can be seen in photos when Stevie plays behind his head. This guitar was originally called “Ol’ White,” and later called “Ol’ Pearl” after the addition of the hula girl, a reference to the paint color and the hula girl. Alder body, ebony fingerboard, maple neck and Danelectro “lipstick” pickups. Hardtail (non-tremolo), single tone and volume controls. White “trick” or “flip-flop” automotive paint, which gives an irrdescent blue tint, depending on the light and angle of view. Seen on the cover of Couldn’t Stand the Weather. In 2003, Charley’s and René Martinez made 23 numbered limited edition replicas of this guitar, selling for $2500. Owners of these replicas have included Carlos Santana, John Mayer and Kenny Wayne Shepherd. In 2005, ten more replicas were made by René and the former owner of Charley’s without the Charley’s logo.
A 1965 Fender Stratocaster Stevie found in a pawn shop in the early ’80s but didn’t have the $350 for. His wife Lenny and other friends bought the guitar for him. Original sunburst finish removed and brown stain applied. A butterfly tortoise-shell inlay in body, believed to be a 1910-era mandolin pickguard. It had a rosewood fretboard, later switched to maple neck that Billy Gibbons gave Stevie. It is reported that Stevie did the switch himself and used non-stock screws, screwing one through the fretboard. Used to record “Lenny” and “Riviera Paradise.” Lenny sold at the Eric Clapton Crossroads Guitar auction on June 24, 2004, to the Guitar Center for $623,500. In December 2007, the Fender Custom Shop produced 235 replicas of Lenny, with an original price of $17,000 each.
Acquired in about 1984 from Charley’s Guitar Shop, Dallas. Red was a stock 1962 until the left-handed neck was installed in 1986 and a new Fender neck installed in July 1990. The black color showing where the red has worn away is because the guitar was originally sunburst, then repainted red, probably at the factory for a special order.
Stolen from Stevie in 1987 and never recovered. Previous owner was Vince Martell of Vanilla Fudge, who sold it to Charley’s Guitar Shop, Dallas, who painted it yellow and gave it to Stevie. The cavity had been hugely routed for four humbuckers. Charley gave it to Stevie in early 1981 with a single-coil DiMarzio neck pickup.
1961 Strat acquired in the fall of 1985 in either Baltimore or the Boatyard in Norfolk, it was to be a prize at a Stevie show, but Stevie bought it and they gave away some other guitar. Butterscotch-colored stock 1961 Stratocaster. Non-original pickguard made by René Martinez.
Acquired as a gift from roadie Byron Barr, the 1928 (or 1929) National Steel guitar seen on the cover of In Step. Rumors that it may have belonged to Blind Boy Fuller are unsubstantiated. Serial number said to be 0034. Acquired from Charley’s in 1981.
The 1951 Fender Broadcaster was a hand-me-down from Jimmie to Stevie in the late 1960’s. Presumably it was Jimmie who carved “Jimbo” on the back of the guitar. He also had a porcelain door knob on the guitar for a while. Stevie took it to shop class at school and sanded all the finish off. It is apparently this guitar that can be heard on the earliest known recording of Stevie, playing at the End of Cole Avenue club in Dallas in 1969. Stevie traded it for an Epiphone Riviera, and it changed hands again and is now owned by a private collector in California.
It’s a stretch to call the Diplomat one of Stevie’s guitars, but he definitely played it at least once. He purchased this guitar in New Zealand in late 1986 for his girlfriend Janna to learn to play on. The only markings visible without taking it apart are “Diplomat” in abalone on the headstock, and “Made in Japan” on the neck plate.
The Diplomat guitars were apparently made in Japan by the Aria company, which exported guitars under the names Diplomat, Diamond, Arbor and Conrad, among others. One fan says that he took the Diplomat badge off his guitar to find Ibanez underneath. I’m told The Cure’s early sound is from Diplomat single coil pickups installed in a Fender Jazzmaster guitar.
In the early 1980s, Stevie used a Marshall 4140 2x12 Club and Country 100-watt combo amp for clean tone and his two Vibroverbs for distortion. The Marshall’s factory test date was February 18, 1980. Photos from 1981 show two Celestion G12-80 speakers. It had brown “elephant” cabinet vinyl and tan basketweave grill cloth. In a 1983 interview, Stevie mistakenly suggested that this was a 200-watt amp that did not perform properly, peaking at 80-watts. It would not produce 200 watts because it was a 100-watt amp. In 1983 Stevie was preparing to go on tour with David Bowie but at the last minute dropped out. Before he did, however, Bowie’s crew took the Marshall amp and painted the vinyl black and the grill cloth grey, presumably to approximate the look of other amps that would be on stage. Stevie’s road manager, Cutter Brandenburg, recalls that after the paint job, the Marshall letters would not stay on and they would catch in the guitar strings when Stevie leaned Number One against it for feedback. Some of the letters broke off, so photos show the amp with “Marshall,” “Marsha” and “Marsh” before the remainder of the name was finally removed completely. All three of Stevie’s roadies/techs from this era recall this amp. Once Stevie started making some money, he upgraded to larger Marshall and Dumble amps and traded this one in sometime after the spring of 1983, possibly as late as 1984. It was then owned by another Texas guitar player for many years. It was then sold and pawned. In May 2003, the author purchased the amp. It still has the Bowie paint job and the Celestion speakers, though the broken knobs and logo have been replaced.
1985: two blackface Fender Super Reverbs (4x10 EV’s), a 150-watt Dumble Steel String Singer (4x12 with four 100-watt EV’s, and 6550 tubes), another Dumble 150-watt 4x12. The 4x12 cabinets were non-angled homemade cabs. Sometimes a 200-watt Marshall Plexi-Major was substitued for the second Dumble head. Stevie had two Fender Vibroverbs ca. 1963-64, (1x15) one often used to power a Fender Vibratone. The Vibroverbs and Supers had 3/4” plywood baffle boards to accommodate the weight of the speakers. The EVM’s larger magnets required repositioning some of the transformers in the chassis. In the later years, the Vibroverbs had Super Reverb-style transformers. The first channel from the phase inverter tube was disconnected and the tremolo disabled (by disconnecting the wires from the intensity control - don’t try this at home unless you want to turn yourself into a light bulb). In the summer of 1990, Stevie also took a couple of 4x10 Fender reissue Bassmans on the road, but the speakers were replaced.
The two Vibroverbs are often referred to as “sequentially numbered” 5 and 6, but the serial numbers were in fact 36 digits apart. 5 and 6 are references to the Dumble amps, which were numbers 005 and 006.
Tubes were typically Philips 6L6’s and 12AX7’s and GE 6550’s. Mesa Boogie STR415’s and STR387’s were also used when they could be found.
Volume settings on stage usually started at 7 or 7.5 but would end up at 10 for “Voodoo Chile.” Roadie Cutter Brandenburg recalls that Stevie would often run his hand down the bottom of the knobs, turning them all up as far as they would go.
Ibanez Tube Screamer: Stevie upgraded as new versions came out - TS-808, TS-9, TS-10 Classic. A fan reports that the chip in Stevie’s pedals was probably the RC4558 chip for clean boost.
Wah-wah: Vox wahs from the ’60s. Occasionally connected two together.
The usual setup in the later years was Ibanez Tube Screamer TS-10, Vox wah, vintage Dallas-Arbiter Fuzz Face, and Tycobrache Octavia. For a brief time he used a Univibe. Roger Mayer Octavias were used prior to the Tycobraches. Cesar Diaz installed matching germanium transistors in the Dallas-Arbiter Fuzz Face body to increase transistor life.
Microphones in the studio for In Step were Shure SM57’s and Sennheiser 142’s. Occasional use in the studio of a Roland Dimension D for extra chorusing effect.
Loop Selector - Stevie had several MXR loop selectors in the early ’80s, one of which is in the author’s collection.
The splitter box which later replaced the loop selectors was one input and six outputs to the amps. No preamp, but resistors to cut down the noise. With the Vibratone he used a Variac AC power regulator.
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Guitar Center Presents: Holiday Gift Guide
Kick off the holiday season by shopping for the guitar player in your life at Guitar Center! Now through December 24th 2022, save on exclusive instruments, accessories, apparel, and more with hundreds of items at their lowest prices of the year.
We’ve compiled this year’s best deals in the 2022 Holiday Gift Guide presented by Guitar Center.
Les Paul Desert Burst Satin
Fender Classic Series 5 Guitar Case Stand Tweed
Fender Holiday Guitar Cable Keychain
Fender Limited Edition Holiday Sweater
Harbinger MLS1000 Personal Line Array Speaker System
Sterling Audio P10 Dynamic Instrument Microphone
Sterling Audio Harmony H224 USB Audio Interface
Apogee BOOM 2x2 Audio Interface
Gibson Unveils the Generation Collection of Acoustics
The Generation Collection of acoustic guitars features the exclusive Gibson Player Port designed to offer a unique and immersive sonic experience.
The G-Bird, the newest addition to the Generation Collection--represents the glorious legacy of the Gibson Hummingbird colliding with modern sonic enhancement through the Gibson Player Port to add a new dimension to the G-Bird sound. The Gibson Player Port allows players to hear more of themselves as the audience hears it. With a tone that is crisp and resonant, all of the Gibson Generation Collection acoustics are designed to be comfortable to hold and play for long periods of time. All Generation Collection guitars feature the Gibson Player Port, slim, lightweight bodies, a flatter fingerboard radius, Walnut back and sides, Sitka spruce tops, and a stunning Natural finish. Additionally, the new G-Bird, and the G-200 and G-Writer are equipped with LR Baggs™ Element Bronze pickup systems which amplify deep bass and crystal-clear highs.
The G-Bird represents the glorious legacy of the Gibson Hummingbird with modern sonic enhancement through the Gibson Player Port adding a new dimension to the G-Bird’s sound. The G-Bird features a stunning solid Sitka spruce top and solid walnut back and sides for the ultimate in crisp, resonant tone. This square-shoulder dreadnought delivers all the rich low end and well-balanced mids and highs the original Hummingbird is famous for. The TUSQ nut and saddle, along with chrome Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning. The utile neck, with its easy-playing Advanced Response neck profile, is so comfortable you won’t want to put it down. The G-Bird also comes equipped with an LR Baggs Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird also comes equipped with an LR Baggs™ Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird is available in Natural finish. A gig bag is included.
Modeled after Gibson’s pioneering small-body parlor acoustic guitars from the 1930’s, the G-00 is a top choice for blues and fingerstyle guitar performances. Despite its more compact size, the G-00 achieves a full, balanced sound. The G-00 fills any room with rich tones-which players can hear like never before, with the exclusive Gibson Player Port. Like all models in the Gibson Generation Collection, the G-00 is handcrafted in Bozeman, Montana, by the same highly--skilled craftspeople who make all Gibson acoustic guitars. The G-00 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-00 parlor-sized body is exceptionally comfortable to hold and play. The TUSQ nut and saddle along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-00 is available in Natural finish. A gig bag is included.
The G-45, a round-shouldered jumbo, adds the Gibson Player Port to its famous “Workhorse” J-45 style body, which is Gibson’s best-selling acoustic guitar of all time. On the G-45, players can now hear more clearly than ever how this beloved guitar responds to every style and technique of playing. Powerful one moment and soft the next, the G-45 delivers all sounds with incredible dynamic range in an elegant, medium body size. The G-45 is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-45 features a slightly thinner round shoulder body is exceptionally comfortable to hold and play. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-45 is available in Natural finish. A gig bag is included.
Gibson’s impressive range of square-shouldered guitars have become an expressive standard for rock, pop, folk, and country artists. The G-Writer is known for its wide range of sounds, from gutsy and loud, to soft and sweet; they are superb for all styles and shine, whether strumming chords or fingering intricate solos. The G-Writer comes ready for the stage or studio with an LR Baggs Element Bronze pickup system and the ear-opening Gibson Player Port. The G-Writer is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-Writer features a slightly thinner cutaway body, is more comfortable to play and provides effortless access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-Writer is available in Natural finish. A gig bag is also included.
Gibson built its first “Super Jumbo” SJ-200 as a custom order for country and western singer and film star Ray Whitley, who desired a big, loud, and deep flat-top over which to croon. The SJ-200 quickly became a staple of cowboy singers and horseback troubadours, and then country music, 60’s folk stars, and onto every acoustic guitar genre that has followed. Ray would be proud to hear the booming sound from the Gibson Player Port on the new G-200, which comes ready for the stage or studio with a LR Baggs Element Bronze pickup system. Like all models in the Gibson Generation Collection, the G-200 is handcrafted in Bozeman, MT, by the same highly--skilled craftspeople who make all Gibson acoustics. The G-200 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-200 cutaway jumbo body is exceptionally comfortable to hold and provides excellent access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-200 is available in Natural finish. A gig bag is also included.
G-Bird | Generation Collection
Gibson Acoustic Generation Collection G-Bird Acoustic-electric Guitar - Natural
For more information, please visit gibson.com.
Gibson Unveils New Digital Amp
Looking for a compact, “noiseless” way to plug in and play guitar? Check out the brand-new Gibson Digital Amp, available only in the Gibson App.
The new Gibson App simplifies the learning process and brings guitar playing to life for the current and next generation of guitarists in a modern, comprehensive, and intuitive way. The Gibson App is the place to take your guitar playing to the next level. New to the Gibson App is the Gibson Digital Amp, the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediate players and pros to get their sound anywhere. The Gibson Digital Amp is an accessible amplifier for both acoustic and electric guitars, and is currently available for Apple/iOS users--an Android version will debut next year.
Use the Gibson Digital Amp’s jamming guide to get started and transform your sound with built-in effects and pedals, jam to backing tracks, or use it in lessons and songs. The Gibson Digital Amp only requires your phone, and wired headphones for the best playing experience, no cables are needed. The amp features 3 acoustic mic presets, 4 electric amp presets, and 6 effects pedals.
The Gibson Digital Amp is the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediates and pros.
The Gibson App uses a unique two-way, interactive platform to teach guitar students how to do everything from playing their first note to shredding loads of songs. The Gibson App features interactive lessons with thousands of lessons and songs. Learn the songs step-by-step with video tutorials from superstar artists and pro guitarists in the “Gibson App Guide.” The Gibson App also includes the new Digital Amp, a built-in tuner, a metronome, Gibson TV, and new songs are added every week. New Gibson App Guides are added regularly and include Tommy “Spaceman” Thayer’s favorite iconic KISS guitar solos, Richie Faulkner’s (Judas Priest) “Guide to Metal,” Jared James Nichols’ “Guide to Blues,” CELISSE’s “Guide to Songwriting,” and more.
The Gibson App uses “audio augmented reality” to provide dynamic feedback to students as they learn and play. As you pluck a note or strum a chord, the Gibson App listens to your guitar and gives you real-time feedback on your playing. It also gives students a more contextual learning experience: Instead of learning chords and scales in a vacuum, you’re able to practice on a scrolling tablature that lets you hear how you sound with the backing of a virtual band. That means you can load up “Hurt” by Johnny Cash, “Brown Eyed Girl” by Van Morrison, “American Girl" by Tom Petty, “Nothing Else Matters” by Metallica, “Where is My Mind" by Pixies, “Country Roads” by John Denver, “I Hate Myself For Loving You" by Joan Jett, “Heaven” by Kane Brown, “Shape Of You” by Ed Sheeran, “Killer Queen” by Queen,“ Sweet Child O’ Mine,” by Guns ‘N Roses, “Run to the Hills” by Iron Maiden, “Roxanne” by The Police, and “Don’t Stop Believin’” by Journey, “Smells Like Teen Spirit” and “The Man Who Sold the World” by Nirvana, “Are You Gonna Go My Way” by Lenny Kravitz, and “Don't Look Back In Anger” by Oasis and hundreds more songs in a wide range of genres, to see how your play matches up with such seminal tracks.
As you’re playing, the Gibson App gives you feedback on timing and tone, ensuring that students are getting active input on how their play is developing. The Gibson App appeals to players of all levels, it’s not just for beginners looking to learn a few chords; the app can assist seasoned guitarists who are working their way through difficult riffs, want to learn their favorite songs, or polish their advanced techniques.
Players can also challenge themselves by speeding up or slowing the tabs. Like having a full-time guitar teacher, the Gibson App keeps track of all your progress and adjusts lesson plans accordingly. The Gibson App released a “backing track mode” which supports both lesson and song playback without headphones, so users can self-select what works best for their current environment. And that’s not all: the Gibson App also packs in a fully-featured digital tuner for guitar first-timers, there’s even a detailed lesson on how to tune your instrument, a multi-function metronome, players can connect to free one-on-one consultations with Gibson’s Virtual Guitar Tech team, and to direct links to the Gibson, Epiphone, and Kramer online stores for easy shopping for guitars, gear, apparel, and accessories.
Learn Guitar With The Gibson App
The Gibson App is more than a pocket-sized guitar teacher, it’s loaded with an archive of exclusive content and original programming from its premium and accessible award-winning online network, Gibson TV, featuring music icons telling their best guitar stories, with more episodes and installments added regularly. Users can watch Black Sabbath’s Tony Iommi share insights and tales from his decades-long career on the series “Icons,” dive into Joe Bonamassa’s assortment of legendary Les Paul guitars on “The Collection,” or see how Gibson’s iconic instruments are made in their Nashville factory from body to binding on “The Process.” There’s even a series called “The Scene” that focuses on backstage stories from hallowed music venues from coast to coast like The Troubadour and Grand Ole Opry.
The Gibson App free version features a few lessons a day; the premium version of the Gibson App offers full access and a 14-day free trial, then costs $19.99/£16.49 monthly or $119.99/£98.99 yearly.
For more information, please visit gibson.com.
Belltone Announces P-90 Foil-Tron Single-Coil Pickup
This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl and smooth sustain saturation when pushed into overdrive.
Belltone Guitars, as part of their Custom-Select System curated offering of pickups, has partnered McNelly pickups to create a one-of-a-kind retro-vibe P-90 pickup in the standard Filtertron size format. This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl, and smooth sustain saturation when pushed into overdrive.
The McNelly P-90 Foil-Coil comes housed in a ‘raw’ nickel outer casing with a dull nickel foil face with metal mount screw gromets to complete the ‘new-vintage’ aesthetic, making it a perfect choice for your signature Belltone custom build. Available exclusively through Belltone Guitars.
Check out the Custom-Select System belltoneguitars.com to preview the McNelly P-90 Foil-Trons and all our standard and selectable components available to create your own signature Belltone. Then visit the Dream Lab on our website and select either model B-Classic ONE with its top binding or B-Classic TWO with its arm and body contours select your body color from our wide range of offerings, select your neck profile of either standard ‘C’ or thicker ’59 Round Back and either Maple or Rosewood fingerboard followed by your tuners, pickguard, and strings. Finally, review our curated custom-designed, and unique pickup selection to locate the McNelly P-90 Foil-Trons to complete your signature build.
Builds start at just over $2,300.00 with a custom case and shipping included.
For more information, please visit belltoneguitars.com.