Harmony Silhouette tested into a modified Plexi-style amp, set to semi-clean (edge of breakup) for the first three clips, then crunch for the final two.
0:00 – Bridge pickup
0:19 – Both pickups
0:38 – Neck pickup
1:05 – Bridge pickup, Marshall gain up to “crunch”
1:35 – Neck pickup
RatingsPros:A thoughtful blend of vintage-derived style and tone, and 21st-century construction and playability. Cons: Body shape and neck joint make it a little neck-heavy when played seated. Street: $1,299 Harmony Silhouette harmony.co | Tones:  Playability: Build/Design:  Value: |
Harmony is one of the oldest American guitar brands. The company has been at it, in one form or another, since 1892. And from the mid ’60s through the mid ’70s, Harmony manufactured more instruments-per-year than any other company in the world—an impressive feat in the electric guitar’s most golden era. Not long after, though, the brand moved away from its Chicago roots, passing between temporary owners and overseas manufacturing facilities. As the years passed, word of the unappreciated quality and character in vintage originals passed from pawnshop hunters to punk, grunge, and garage-band musicians. But in the last few years, it’s not been unusual to see a festival headliner like St. Vincent or War on Drugs parade out an old Harmony solidbody.
Harmony’s newest owner, BandLab Technologies—which also owns Heritage Guitars, Mono Cases, Teisco, and other brands—did not take the resurrection of these Harmonys lightly. All three new Harmony guitar models are based on originals even though they aren’t down-to-the-letter reissues. And They’re manufactured at Harmony’s factory in Kalamazoo, Michigan—the same factory where Gibsons were once made, and where Heritage guitars are now also built. The high level of quality makes them entirely functional to a 21st-century gigging guitarist. And the Silhouette reviewed here, like its siblings the Jupiter and the Rebel, sells at a novice-friendly $1,299 with case. That’s a nice price for a unique, U.S.-made solidbody.
B-list Bruiser
The typical Harmony guitars of the ’50s, ’60s, and ’70s were regarded as beginner and student guitars—the kind your parents bought to make sure you were really going to learn to play before investing in something more serious. The new Harmony is, in most respects, a better quality guitar than the originals, and it’s certainly built to a high standard for a mid-priced, bolt-neck solidbody.
The body is crafted from solid alder in an, ummmm, silhouette that mimics the original, though the neck joint and bridge placement differ (Many originals came with a Hagstrom vibrato.) and the pickguard has simpler and arguably more elegant Jazzmaster-style lines. There’s also generous rib and forearm contours that enhance the comfort of the new version.
Our review guitar came in a pearl white finish, but slate blue and champagne finishes are also available. The bolt-on neck is built around a 25" scale length with a 12" radius ebony fingerboard. The neck profile is a medium C that leans a little toward the slim side. Tuners are a locking type that feel both smooth and efficient, and the bridge is a chopped-Tele-style affair with three compensated saddles and through-body stringing.
Quirky shapes and features aside, Harmony’s claim to fame is, for many players, the great-sounding single-coil gold-foil pickups many models were fitted with, which were manufactured in the late ’50s and ’60s by Rowe Industries for DeArmond. While the Silhouette’s pickups look like gold-foils, they are actually more versatile mini-humbuckers. I’m a little surprised that they dispensed with the archetypal “S” or “diamond-top” covers that distinguished the originals visually, but these still look sharp. Controls are a simple master volume and tone, rather than the original’s 4-control set. But the guitar is fitted with stylish cupcake knobs, an orange-drop tone capacitor under the hood, plus an easy-action toggle selector. Each new Harmony solidbody guitar also comes in a high-quality Mono Vertigo gig bag, which is a nice bonus given that it would set you back almost $250 by itself.
Sound Salvation
The Silhouette is comfortable and easy to play. And while I prefer chunkier necks, this medium-C profile is certainly easy on the hand. The shape of the guitar and the relative position of the neck/body joint make it a little neck-heavy on the lap, and you sometimes feel the neck start to dive when you remove your fretting hand. Oddly, though, it feels more balanced hanging from a strap, and it’s a confident player regardless, in either position.
I tested the Harmony Silhouette through a Friedman Small Box head with a 2x12 cabinet and a tweed Deluxe-style 1x12 combo, and I was immediately impressed by how well this guitar accomplished its mission—which is to say, it plays like a well-built modern guitar but still delivers a lot of the of lo-fi-meets-hi-fi personality that gold-foil-equipped originals delivered by the bucket load. It’s easy to tap into the gnarly, raw, garage-rock sounds that mini humbuckers are excellent for. But it also has the added refinement of hum-cancelling performance and a little extra sweetness and musicality, thanks to the more resonant qualities that come via well-executed construction.
While the mini humbuckers shine in many musical situations, the Silhouette excels at edgy indie-rock, punk-tinged blues, and classic rock—just the way gold-foils would. You also hear and feel a cool blend of cutting top-end attack and compression in single notes and chords that’s quite like vintage gold-foils. Given what a good set of gold-foil reproductions with period-correct rubber magnet construction can cost, the substitution of mini humbuckers is an effective and cost-conscious move that certainly helps keep the guitar affordable. But they also mean you don’t sacrifice the rowdy vintage personality you probably want from a Harmony. The modern Harmony struck a nice balance and compromise here.
The Verdict
Ultimately, the Harmony Silhouette is a clever, broadly appealing homage to a funky pawn-shop favorite that ends up much more versatile than its inspiration. Some players might wish for a little more of the original Silhouette’s quirkiness: the club-like neck, the gold foil aesthetic, funky switches, extra knobs, and a less Fender-y pickguard. But it’s hard to argue with this new offering’s marriage of personality, playability, versatility, and, when you want it, capabilities for punk savagery.
Watch the First Look:
Epiphone Firebird I
When Gibson debuted the Firebird I and Firebird V in 1963, the design was as innovative as it was radical. Like the Flying V and Explorer, the Firebird seemed Martian—or at least like a work of futurist art, with its offset body shape, extended lower and upper bouts, reverse headstock, and through-body neck.
Firebirds came in three versions: The single-pickup Firebird I, the two-humbucker Firebird V, and the three-pickup Firebird VII, with the latter two featuring a Vibrola tailpiece, trapezoid inlays, and neck binding. The first time I saw a Firebird in action, it was in the hands of Johnny Winter, who gave no quarter as he ripped conflagrant solos from its fretboard, but Brian Jones, Clapton, Allen Collins, Paul Stanley, and Phil Manzanera also helped make the model a legend. Original ’60s Firebird V’s sell for as much as $35,000, and reissues peak at nearly $10,000 for the Gibson Custom Shop’s ’63 Firebird V. That’s a lot of dough to look badass on stage. But now, Epiphone—in collaboration with Gibson’s Custom Shop—has taken high-quality reissues of the 1963 Firebird I and V into a more affordable realm. They’re still pricey for an Epi’, at $1,299 and $1,699, respectively, but undeniably brimming with panache.
“I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone.”
An’ a I, an’ a V
Our review Firebirds arrived impeccably set up, with action low enough for speed, but high enough for slide—my comfort zone, coincidentally. They are handsome guitars too. The I is finished in gleaming cherry, while the V is decked out in vintage sunburst and a shiny Vibrola tailpiece.
The necks are the not-so-secret weapons on these models. They are 9-ply mahogany and walnut (original Firebirds have a 5-ply neck), sandwiched between mahogany wings, but both guitars are still fairly light. The I is 7 1/2 pounds and the V weighs about 9 pounds due to the additional pickup and bridge hardware. There are 22 comfortable, medium-jumbo frets, which allow easy navigation and elegant bends, a Graph Tech nut, dot neck inlays on the I and trapezoids on the V, a classic Gibson-scale neck length of 24 3/4", and an Indian laurel fretboard. The banjo-style Kluson Planetary tuners, as well as the reverse headstock, take time to get to use to, but contribute to the instruments sleek, clean lines. The Firebird I’s electronics are simply a master volume and tone, with CTS pots and Mallory caps inside, in service of a warm-to-cutting single alnico 5 Gibson USA Firebird Mini Humbucker. The V offers more ways to shape your tone: The Vibrola is cool and vibey and there’s a classic four-dial Gibson control set (also routed through Mallory caps and CTS pots), a 3-way pickup switch on the lower bout, and a pair of those Gibson USA Firebird Mini Humbuckers.
Epiphone Firebird V
Trial by Firebird
I was sure I would prefer the Firebird V playing experience, because I am typically a neck-pickup player, but both guitars revealed sonic charms through Carr Vincent and Telstar amps running in stereo, my vintage Marshall Super Lead, and a Positive Grid Spark.
Low-action setups on both accommodate everything from campfire chords to screaming single-note playing past the 12th fret, with the perfectly smooth fret ends and comfortable neck making it all a pleasure. The neck broadens to 2 1/4" at the body, from 1 3/4" at the nut, making it easy to hit high notes accurately. But what really excited me, besides how artful these guitars look, is the power and sound of the pickups.
I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone, whether slashing and growling through the Marshall or pouring thick honey out of the Carrs. And through the Spark, a highly pleasing snarl and juicy warmth were all on tap. Despite my predilection for neck pickups, I became really excited by the Firebird I. The simplicity and elegance of its look, streamlined controls, clean surface, and light weight made the I a joy to play, especially with the treble rolled to near-zero. There, early Clapton-esque tone was a cinch to find, and for blues and pseudo-jazz-licks (the best I can muster in that genre), the warmth and clarity were delightful. Despite its basic construction, the Epiphone Firebird I is assuredly more than a rock machine.
Sure, having the addition of a neck pickup on the Firebird V provides a wider selection of tones, but the voices achievable on the I were no less winning and, honestly, I could not find any pickup-and-dial configuration on the V that sounded all that different or better than those available on the I. But, ah, a Vibrola is a very nice appointment—not just for its grand appearance, which is like some antiquarian treasure, but for the subtle bends its enables. If atmospheric guitar tones from the Ventures to Hermanos Gutiérrez are your passion, you’d want the Vibrola, which stays remarkably in tune, given its relatively primitive design.
The Verdict
Make no mistake: With their uncommonly proportioned offset bodies and reverse headstocks, guitars like the Epiphone Firebird I and V require time to get acquainted. But if you’re unafraid to stand out from the crowd, these instruments will serve you visually and sonically. Both play well and offer a good scope of vintage tones—from aggressive to dark maple sugar—with simple dial adjustments. And while many other Epiphone models sell for less, these well-crafted copies of original Gibson designs provide custom-shop or boutique-builder quality at a much lower price. PG
The 4-ply white pearloid pickguard is fitted with a Seymour Duncan Quarter Pound split-coil P Bass pickup custom mounted in reversed position, the final piece of Hoppus regaled pop-punk tone. A limited number of these bases will be produced, and they are offered in a traditional 3-Color Sunburst or Sea Foam Green.
“It has a Jaguar body; it has a Jazz bass neck – C style, Rosewood fretboard, pearloid pickguard, 1 volume knob because I don’t need a tone knob, my tone comes from the wood, which in this case is Alder, the Maple neck, and of course, it comes from my pickups. I've used Seymour Duncan Quarter Pound pickups that are mounted inverted so that the lower strings are closer to the bridge and give them a little more brightness. This bass is really nice, and I hope players enjoy it.” said Hoppus on his new signature bass.
Fender first worked with Hoppus in 2002, bringing to life a Mark Hoppus Signature Jazz Bass. This instrument played with the elements and electronics of a traditional Jazz Bass, essentially creating a hybrid of a Jazz and Precision Bass, giving him the best of both worlds. This bass is still sought after today, and fans will be happy to see Hoppus continue the legacy of that model with his new Jaguar Bass, which combines his preferred Jazz Bass neck, reverse-mounted P Bass pickup with a comfortable and stylish offset Jaguar Bass body.
“Mark knew what he wanted when ideating this bass,” said Justin Norvell, EVP of Product at FMIC, “in turn, that is what fans of blink-182 fans want too. It’s been a true joy to work with Hoppus and help create this signature Jaguar bass. Hoppus's use of this bass on stages worldwide showcases its exceptional sonic capabilities. By incorporating Seymour Duncan Quarter Pound pickups in a reverse position, he's enabled fans to achieve the iconic blink-182 tone they've always dreamed of. I can't wait to see how musicians worldwide will bring their creativity to this instrument.”
In addition to all its elevated specs, this bass is topped off with a custom neck plate and gig bag with the “Hi, My Name is Mark” octopus logo. An ode to his company that realises, in apparel, the cool things in life that can not be captured in anything other than art. Hoppus taught himself bass, and this new signature release from Fender hopes to encourage new players and established “blink” fans alike to pick up this instrument and start playing bass.
In true tradition, the Fender Artist Signature Series honors iconic musicians through product progression and storytelling, creating instruments inspired by the unique specifications of the world’s greatest guitarists and bassists.
MSRP $1399.99
For more information, please visit fender.com.