Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
āIāve always been a Gibson guyāI got hooked on that sound as a teenager and have been playing them ever since,ā says Warren Haynes. āNeedless to say, Iām honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, Iām really loving the hum-free P-90s. Itās a really cool tonal change, and the boost offers even more tonal options. Iām really enjoying playing this guitar on stage and looking forward to using it in the studio. Iām equally psyched that other guitar players will now have the opportunity to own and play one as well.ā
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Govāt Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of musicās most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described āGibson man,ā Warren has used several Gibson models throughout the years, including his cherished ā61 ES-335ā¢, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warrenās preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warrenās favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Govāt Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful āDay Of Reckoning.ā Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is āReal Real Love,ā a song initially co-written with Gregg Allman that Warren finished in Allmanās style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things betterāin love, in life, in the worldāled by Haynesās soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with āThese Changes,ā a co-write with Trucks, leading into āGo Down Swinging,ā co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, thereās the soulful power ballad āTill The Sun Comes Shining Through,ā driven by Warrenās impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single āThis Life As We Know It,ā which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition āBack Where I Startedā featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic āFind The Cost Of Freedomā into an extended version of āDay Of Reckoning.ā Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson WarrenĀ HaynesĀ Les Paul Standard Electric Guitar - '60s Cherry
Along with contemporaries like MGMT and Passion Pit, Greenwich, New York, duo Phantogramās experiments crosspollinating hip-hop, indie, and punk rock helped cement and elevate a new era of electronic-influenced alt-rock and indie music. At the start of the 2010s, youād be hard-pressed to find a college radio station or dorm-room playlist that didnāt include a Phantogram hit.
Sixteen years after the release of their debut record, band leaders Josh Carter and Sarah Barthel, who started Phantogram in a town of just a few thousand people, are touring behind their latest full-length, 2024ās Memory of a Day. The tour included a sold-out stop at Nashvilleās Ryman Auditoriumāa different sort of barn than the kind they used to perform in back in Greenwichāwhere PGās John Bohlinger caught up with Carter and Barthel. Courtesy of some help from their tech, the duo showed us how theyāre pulling off their theatrical live experience.
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Music Mantogram
Carter is endorsed by Ernie Ball Music Man guitars, so all three of his road axes are variations on his current favorite Cutlass model. This one, first among the trio, is finished in black with a gold pickguard, and like its stablemates, it bears the Phantogram logo inlaid on the first fret. Carter removes the vibrato bar and uses his hand to pull the bridge up to nail the warbles. Aside from that, this one is all stock, and strung with Ernie Ball Paradigm .010s. While he sometimes grabs a pick, Carter plays most of the set with an acrylic nail on his index finger.
Brown Sound
This first backup Cutlass is finished in brown with the woodgrain peeking through and a burgundy tortoiseshell pickguard. It has a Seymour Duncan single-coil-sized humbucker in the bridge position for a hotter output than its black counterpart.
Step It Up
This natural finish Cutlass has had the same pickup mod as the brown one, but this one stays tuned a half-step up for special deployment.
Clean Business
Carter uses a wireless system to run to this Neural DSP Quad Cortex at his feet. His tech has set it up to emulate many of the pedals Carter uses in the studio. Carter appreciates the tactile and flexible nature of the system; it can take MIDI programming so Carter can focus on performing, or it can be rigged up to function like a traditional pedalboard. He uses a mix of amp emulations, including AC30-, 5150-, Fender tweed-, and Jazz Chorus-style patches.
A Boss volume and expression pedal alongside the Quad Cortex give Carter some extra control over the setup.
Josh Carter's Pedalboard Playground
While Carter carried a compact stomp station for tour, heās addicted to stompboxes and uses them for inspiration when writing and sound building during studio sessions. Hereās what a small selection shared from his collection:
āThe most prominent pedals I used for years onstage before switching to the Quad Cortex were the Line 6 DL4, Electro-Harmonix Holy Grail, Boss
DD-6 Digital Delay, Boss OC-3 Super Octave OC-3, Fulltone OCD, Wampler Ego Compressor, and Route 66 American Overdrive.
My go-to studio pedals are the MXR Joshua Ambient Echo, Line 6 DL4, Death By Audio Reverberation Machine, Electro-Harmonix Holy Grail, Chase Bliss Generation Loss MkII, Chase Bliss Mood MkII, Boss DD-500 Digital Delay, Chase Bliss Audio Automatone CXM 1978, Old Blood Noise Mondegreen Delay and Reflector Chorus.
And some honorable mentions for pedals Iāve been really digging as of late would be the Neon Egg Planetarium, Roland Space Echo, and various vintage & new spring reverbs.
Silver Stunner
Sarah Barthel initially played keys in Phantogram, but she learned bass and mimicked her synth parts on the instrument so she could move about freely and interact more with Carter. This custom-made sparkle-finish Fender Mustang is the perfect size for her, and she just recently started playing it with a pick. She runs into a Quad Cortex, too, but the Fender Bassman stack lurking behind the bass serves as an onstage monitor.
Jazzmaster
Barthel isnāt confined to the bass, either. At some points in the set she jumps onto this prized Jazzmaster, which sheās had for 15 years.
