Throughout the year we collect stories and photos of guitar-mod projects created by you, our dear readers. Some are so inspiring that we include them here in our annual Hot Rod issue.
The Gibson EH-185, introduced in 1939, was one of the companyās first electric guitars.
Itās hard to overstate the importance of electric guitar in shaping American popular music over the last half-century. Its introduction was a revolution, changing the course of modern musical styles. Today, when we think of the guitars that started the revolution, we think of the Stratocaster and the Les Paul, guitars held against the body and fretted with the fingertips. But the real spark of this musical mutiny was the lap-steel guitar.
In the early 20th century, guitar music was moving out of the parlors of homes and into public spaces where folks could gather together and dance. Guitarists needed to project their sound far beyond where their wimpy little acoustic instruments could reach. Instrument manufacturers began experimenting with larger body sizes, metal construction, and resonators to increase volume.
Around this time, George Beauchamp began experimenting with electric guitar amplification. He settled on a design using two U-shaped magnets and a single coil of wire. Beauchamp was in business with Adolph Rickenbacker, and they decided to stick this new invention into a lap steel.
If we put on our 1930s glasses, this decision makes perfect sense. The most popular music at the time was a blend of Hawaiian and jazz styles made famous by virtuosos like Solomon āSolā HoŹ»opiŹ»i. Photos of HoŹ»opiŹ»i with a metal-body resonator aboundāone can imagine his relief at being handed an instrument that projected sound toward the audience via an amplifier, rather than back at his own head via resonator cones. Beauchamp and Rickenbacker were simply following the market.
As it turned out, the popularity of Hawaiian music gave way to swing, and electric lap steels didnāt exactly take the world by storm. But Beauchamp and Rickenbacker had proven the viability of this new technology, and other manufacturers followed suit. In 1937, Gibson created a pickup with magnets under the strings, rather than above like Beauchampās.
āWhen I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christianās smooth, clean tone. But what I got was meatierācloser to what I associate with P-90s: warm and midrange-y.ā
The first page of Gibsonās āElectrical Instrumentsā section in the 1939 catalog features a glowing, full-page write-up of their top-of-the-line lap steel: the EH-185. āEverything about this new electric Hawaiian Guitar smacks of good showmanship,ā effuses the copy. āIt has smoothness, great sustaining power, and an easy flow of tone that builds up strongly and does not die out.ā
Picking up the 1940 EH-185 at Fannyās House of Music is about as close as one can get to traveling back in time to try a new one. It is just so clean, with barely any dings or even finish checking. Overall, this is a 9/10 piece, and itās a joy to behold. Speaking of picking it up, the first thing you notice when you lift the EH-185 out of the case is its weight. This is a much heavier instrument than other similar-sized lap steels, owing to a length of thick metal between the body and the fretboard. The catalog calls it āHyblum metal,ā which may be a flowery trade name for an early aluminum alloy.
This 1940 EH-185 is heavier than other lap steels in its class, thanks to a length of metal between its fretboard and body.
Photo by Madison Thorn
There are numerous other fancy appointments on the EH-185 that Gibson didnāt offer on their lesser models. Itās made of highly figured maple, with diamond-shaped decorations on the back of the body and neck. The double binding is nearly a centimeter thick and gives the instrument a luxurious, expensive look.
Behind all these high-end attributes is a great-sounding guitar, thanks to that old pickup. Itās got three blades protruding through the bobbin for the unwound strings and one longer blade for the wound strings. When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christianās smooth, clean tone. But what I got was meatierācloser to what I associate with P-90s: warm and midrange-y. It was just crying out for a little crunch and a bluesy touch. Itās kind of cool how such a pristine, high-end vintage instrument can be so well-suited for a sound thatās rough around the edges.
As far as electric guitars go, it doesnāt get much more vintage than this 1940 Gibson EH-185 Lap Steel. It reminds us of where the story of the electric guitar truly began. This EH-185 isnāt just a relicāitās a testament to when the future of music was unfolding in real time. Plug it in, and you become part of the revolution.
Sources: Smithsonian, Vintage Guitar, Mozart Project, Gibson Pre-War, WIRED, Steel Guitar Forum, Vintaxe
