Classy design extras, ultra-buttery playability, and sweet, growling pickups distinguish this excellent ES alternative.
Faultless construction. Very nice PAF-style tones. Exceptional playability. Beautiful visual presence and cool vibe. Comes with a hard case.
The extra 200 bucks you’ll pay over the price of a more modest Epiphone ES-335 might be too much for practical players.
$899
Epiphone Noel Gallagher Riviera
epiphone.com
Whatever your opinion of Oasis—and they have a way of engendering opinions—there’s little arguing that Noel Gallagher has an ear for a tune. And like many contemporary British indie guitarists and forebears like his hero, Johnny Marr, Gallagher also understands the romantic and iconographic power of a great tune played on a classic guitar—particularly as a means of asserting difference from the pop and hair metal tribes that came before.
Between a keen awareness of those cultural forces and Gallagher’s not-even-kinda-subtle worship of the Beatles, it’s little wonder he found his way to the Epiphone Riviera that inspired this signature model. Gallagher’s original Riviera, which was a Japan-made 1980s model, is a very different guitar than the Beatles’ hollowbody, P-90-fitted Epiphone Casinos, though. In fact, with its center-block, semi-hollow construction, PAF-inspired humbuckers, and Tune-o-matic bridge, it’s much more like a Gibson ES-335.
Epiphone currently makes several very nice ES-style guitars, from their own ES-335 to the closely related Riviera and Sheraton. Most of those guitars, save for the B.B. King, Emily Wolfe, and Joe Bonamassa signature models, sell for $599 to $699, which begs the inquiry: What does this Noel Gallagher Riviera give you for 200 bucks extra that its cheaper stablemates do not? If you’re a hardcore Oasis fan, that’s a non-question. But even at $899, this guitar is a great value. It feels and plays like a more expensive instrument. The build quality is pretty close to faultless. It comes with a hardshell case. It growls, sings, and stings in classic style. And by amalgamating several elements from Casinos, vintage-style Rivieras, and Gibson ES instruments, the Noel Gallagher Riviera adds up to a unique twist on a classic profile.
An E for Elegance
I’ve longed for a Gibson ES-335 since … forever. They loomed large in images of some of my biggest heroes: Keith Richards on the back of the Get Yer Ya-Ya's Out! album, Roky Erickson, and Jorma Kaukonen to name just a few. Usually, an Epiphone Dot was the most affordable means of satisfying my 335 desires, and I’ve played a lot of them in shops and some that belong to friends. But I had weird luck with those Dots. When I found a good one, my interests seemed to be somewhere else. When I was feeling enthused, I could never find one that was quite right. But I feel like if I had ever come across an Epiphone 335-style as nice as the Noel Gallagher Riviera, I might have dropped the cash down on the spot—regardless of my current musical predilections. It’s a very inviting and easy-to-hang-out-with kind of guitar.
If you haven’t taken a break from your pedalboard for a while and need a taste of straight, mainline amp thrills, the Noel Gallagher Riviera is a satisfying means of getting there.
For starters, the Noel Gallagher Riviera feels next to effortless to play. Not everyone digs cradling a 16" body. And not everyone loves a 12" fretboard radius. But just about anyone else that touches this guitar is at risk to succumb to its smooth-playing charms. The action could fairly be called delicious, and the setup perfect, even after a cross-country journey.
The Noel Gallagher Riviera looks good, too. The wine-red finish and binding, aged to a biscuit-tan hue, look like a rather scrumptious meal. But the guitar also holds up to scrutiny at the detail level. I couldn’t find a construction or finish miscue. If there is any possible complaint, it’s that the finish might be a tad thick. All the same, I love looking at it. And though dogmatic Gibson players will probably scream heresy, I prefer the way the slim, florid hourglass headstock looks on this guitar compared to a Gibson. The white, curvaceous pickguard is also a pretty contrast to the wine finish, which I prefer to a Gibson ES-335’s black guard.
Air and Cultured Muscle
If you haven’t taken a break from your pedalboard for a while and need a taste of straight, mainline amp thrills, the Noel Gallagher Riviera is a satisfying means of getting there. The Alnico Classic Pro humbuckers, which aspire to a late-’50s, low-output PAF sound and feel, might lack some sense of the wide-screen, aerated texture you hear in the real thing or a top-flight replica, but they are a very nice facsimile. The top end zings and is neither too soft nor too bossy. And though the low end can be a touch woofy in some settings—a quality that applies to just about any PAF to a degree—it just as readily offers growling counterweight to the sweet treble tones. Like any PAF-profiled pickup, the Alnico Classic Pro is scooped in the midrange. In a great PAF, there’s usually enough personality in the scooped mids to lend a little purr to the output. That edge is slightly blunted here. But on balance, this a very nice set of pickups for a guitar in this price range.
The pickups are also a beautiful match for the semi-hollow construction, which I always think feels a little more dimensional than a Les Paul. The bridge pickup and combined pickup settings in particular seem to benefit from the extra body resonance, which lends them size and firecracker energy. The neck pickup alone, meanwhile, feels and sounds a little extra smoky, vocal, and soft around the edges. Each of these settings, by the way, pair to thrilling effect with overdrive tones. But I particularly love how it matched up with Marshall-style and raspy ODs, where the extra midrange adds a sweet toughness.
The Verdict
The knock on the Noel Gallagher Riviera will almost certainly be that it’s 200 extra bucks for what is, elementally, an Epiphone ES-335. But the little details—the parallelogram markers, the curvaceous, white Rivera pickguard, and the wine finish and aged binding, add up to a very pretty, distinctive, and unique twist on an ES. It’s also a very classy alternative to a Les Paul if you want PAF sounds in a less common instrument. I might also argue that it’s just a touch more versatile in some musical situations, thanks to the combination of airy resonance and growl. If you’re a songwriter, you’ll love how great it sounds nowhere near an amplifier. But this guitar is a joy to hear loud, alive, electrified, and unadulterated.
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An ode, and historical snapshot, to the tone-bar played, many-stringed thing in the room, and its place in the national musical firmament.
Blues, jazz, rock, country, bluegrass, rap.… When it comes to inventing musical genres, the U.S. totally nailed it. But how about inventing instruments?
Googling “American musical instruments” yields three.
• Banjo, which is erroneously listed since Africa is its continent of origin.
• Benjamin Franklin’s Glass Armonica, which was 37 glass bowls mounted horizontally on an iron spindle that was turned by means of a foot pedal. Sound was produced by touching the rims of the bowls with water-moistened fingers. The instrument’s popularity did not last due to the inability to amplify the volume combined with rumors that using the instrument caused both musicians and their listeners to go mad.
• Calliope, which was patented in 1855 by Joshua Stoddard. Often the size of a truck, it produces sound by sending steam through large locomotive-style whistles. Calliopes have no volume or tone control and can be heard for miles.
But Google left out the pedal steel. While there may not be a historical consensus, I was talking to fellow pedal-steel player Dave Maniscalco, and we share the theory that pedal steel is the most American instrument.
Think about it. The United States started as a DIY, let’s-try-anything country. Our culture encourages the endless pursuit of improvement on what’s come before. Curious, whimsical, impractical, explorative—that’s our DNA. And just as our music is always evolving, so are our instruments. Guitar was not invented in the U.S., but one could argue it’s being perfected here, as players from Les Paul to Van Halen kept tweaking the earlier designs, helping this one-time parlor instrument evolve into the awesome rock machine it is today.
Pedal steel evolved from lap steel, which began in Hawaii when a teenage Joseph Kekuku was walking down a road with his guitar in hand and bent over to pick up a railroad spike. When the spike inadvertently brushed the guitar’s neck and his instrument sang, Kekuku knew he had something. He worked out a tuning and technique, and then took his act to the mainland, where it exploded in popularity. Since the 1930s, artists as diverse as Jimmie Rodgers and Louis Armstrong and Pink Floyd have been using steel on their records.“The pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.”
Immigrants drove new innovations and opportunities for the steel guitar by amplifying the instrument to help it compete for listeners’ ears as part of louder ensembles. Swiss-American Adolph Rickenbacker, along with George Beauchamp, developed the first electric guitar—the Rickenbacker Electro A-22 lap steel, nicknamed the Frying Pan—and a pair of Slovak-American brothers, John and Rudy Dopyera, added aluminum cones in the body of a more traditional acoustic guitar design and created resophonic axes. The pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.
As the 20th century progressed and popular music reflected the more advanced harmonies of big-band jazz, the steel guitar’s tuning evolved from open A to a myriad of others, including E7, C6, and B11. Steel guitarists began playing double-, triple-, and even quadruple-necked guitars so they could incorporate different tunings.
In Indianapolis, the Harlan Brothers came up with an elegant solution to multiple tunings when they developed their Multi-Kord steel guitar, which used pedals to change the tuning of the instrument’s open strings to create chords that were previously not possible, earning a U.S. patent on August 21, 1947. In California, equipped with knowledge from building motorcycles, Paul Bigsby revolutionized the instrument with his Bigsby steel guitars. It was on one of these guitars that, in early 1954, Bud Isaacs sustained a chord and then pushed a pedal down to bend his strings up in pitch for the intro of Webb Pierce’s “Slowly.” This I–IV movement became synonymous with the pedal-steel guitar and provided a template for the role of the pedal steel in country music. Across town, church musicians in the congregation of the House of God Keith Dominion were already using the pedal steel guitar in Pentecostal services that transcended the homogeneity of Nashville’s country and Western clichés.
Pedal steels are most commonly tuned in an E9 (low to high: B–D–E–F#–G#–B–E–G#–D#–F#), which can be disorienting, with its own idiosyncratic logic containing both a b7 and major 7. It’s difficult to learn compared to other string instruments tuned to regular intervals, such as fourths and fifths, or an open chord.
Dave Maniscalco puts it like this: “The more time one sits behind it and assimilates its quirks and peculiarities, the more obvious it becomes that much like the country that birthed it, the pedal steel is better because of its contradictions. An amalgamation of wood and metal, doubling as both a musical instrument and mechanical device, the pedal steel is often complicated, confusing, and messy. Despite these contradictions, the pedal-steel guitar is a far more interesting and affecting because of its disparate influences and its complex journey to becoming America’s quintessential musical instrument.”The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
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Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.