From rocking garages to filling arenas, Dan Auerbach’s gear has always been odd and eccentric. Still keeping it weird, he spotlights axes from a teenage hero, a custom build influenced by an industry master, and a token of his success in the shape of a Holy Grail Gibson.
So, what led to The Black Keys ending their unannounced hiatus? Well, for Auerbach, it was the same guitar that started the ascent up this crazy rollercoaster—Glenn Schwartz’s 10-string hollowbody. James Gang and Eagles ace Joe Walsh was jamming with Auerbach at Easy Eye and the two brought up Schwartz and how his ferocious playing impacted them both. Auerbach spent any free time he had during high school to make the trek from Akron to Cleveland to see Schwartz play. Walsh coincidentally looked to Glenn as a guitar hero and eventually took over for him in the James Gang when Schwartz left the band, moved to California, and formed Pacific Gas & Electric. (You can see the trio of guitarists jam at Nashville’s famed Robert’s back in 2016.)
Auerbach and Walsh got Schwartz down to Nashville to record him at Easy Eye Sound Studio. The session was inspiring and provided Auerbach the visceral memory of why he loved the Black Keys. The next day he called Carney, they put a session on the books and Let’s Rock was made.
Premier Guitar made the comfortable drive south to Atlanta’s State Farm Arena to not only check in with Auerbach’s longtime tech Dan Johnson, but the guitar master himself makes a cameo to talk all things guitar, including Glenn’s aforementioned 10-string that was loaned to him after a recent Cleveland gig. Other 6-string highlights include a gold-foil-loaded Peavey Razer gunning for the T-Model Ford mojo, a lawsuit-era Ibanez SG, a custom-build (by Dan Johnson) that echoes back to industry heavyweight Paul Bigsby, and surprisingly enough, a ’59 burst. While there, we also spoke with new bandmembers Delicate Steve, and the Gabbard brothers (Andy — above left — and Zach who are also 2/3 of the Buffalo Killers) from Akron, who all show off the goodies they bring to the arenas to back their longtime buds.
Here’s the 10-string that was used and abused by one of Auerbach’s guitar heroes, Glenn Schwartz. Some notable things Glenn did to this instrument are the extended f-holes, swapped in the solid-brass tailpiece that goes through the whole guitar, and because Glenn was very religious, he believed that if you played music for the Lord, you played a 10-string instrument, so he added the four strings to the lower bout. All of Auerbach’s instruments take SIT .011–.050 strings.
Inspired by Mississippi juke-joint legend T-Model Ford, aka James Lewis Carter Ford, Auerbach tracked down this Peavey Razer. The homage is complete with the “T Model The Taledragger” stickers that were on Ford’s beloved Razer. The electronics have been upgraded and the stock pickups have been substituted with DeArmond gold-foils from a Harmony. The tailpiece is from a Kay and tech Dan Johnson machined the bridge and vibrato arm from brass.
Here is one from the old days—a lawsuit-era Ibanez modeled after a 1961 Les Paul Custom aka the first SG.
“I gotta admit, I got this guitar because of these absurd furniture nails,” admits Dan Auerbach. This lawsuit guitar was upgraded with Lollar Lollartrons and an old Bigsby off his Gretsch Duo Jet. Dan Johnson believes this came from one of Neil Young’s guitars as the vibrato was a gift from longtime Young tech Larry Cragg. Ironically, after purchasing the guitar and sitting with it in his living room, he realized it’s the same lawsuit guitar on Junior Kimbrough’s All Night Long, which was a major influence. Billy Sanford, the guitar man behind the “Oh, Pretty Woman” lick, coined the guitar “Nails in My Coffin” because of the guitar body’s rivets the nameplate on the nut cover. Perfect!
It’s no shock to any guitar dork that Auerbach is attracted to odd-shaped instruments. A Gretsch employee reached out to Dan Johnson and wanted to send Auerbach a G6138 Bo Diddley Firebird. The band received it while rehearsing for the Let’s Rock tour at the Wiltern in Los Angeles. The Dans agreed that the guitar needed to be stripped of its red top, so Johnson got to work. Once it was removed, they wanted to stain it like a piece of furniture from the ’70s, but it was late and Johnson didn’t think he could find a hardware store open around midnight. Lucky enough, a Wiltern maintenance worker knew where in the basement he could find the necessary woodworking supplies. Beer in hand, Johnson stained the guitar and let it dry overnight.
Here is a copy of a copy of a copy. Let us a explain. The Italian brand Eko made a signature guitar in the mid-’60s for their version of the Beatles, the Rokes. (Think along the lines of Mosrite building Ventures models coinciding with the surf-rock juggernauts.) Then the Japanese company Kawai made a copy of that in the late ’60s and it was nicknamed the “Flying Wedge.” And as Auerbach does, he bought a Kawai model on eBay and it was shipped directly to Johnson. It was cheap. It was horrible. It wasn’t playable. So, to make good on the bad bargain, Johnson started his own flying-wedge project. It incorporates flavors from its misfit predecessors including Lonnie-Mack’s-Bigsby-Flying-V workaround and machined parts reminiscent of Paul Bigsby’s early work. It has a chambered bird’s-eye maple body and Firebird-style mini-humbuckers. The project was finished just before the Atlanta show on November 9th and played onstage for the first time that same night.
This is a one-owner 1959 Gibson Les Paul that Dan Auerbach bought this year. He’s already recorded with it at Easy Eye and has truly enjoyed owning it. While he admits that a ’59 ’burst isn’t a guitar you’d attach to him because so many other famous guitarists have forged history with it, he couldn’t turn down the opportunity to have such an inspiring instrument. “I had no intention of buying a ’burst,” says Auerbach. “I’ve never even seen one before I walked into that guitar store and bought it from the owner’s sister.”
No, you’re not looking at a Stonehenge-sized Tetris wall, it’s Auerbach’s current lineup of amps.
While doing tour rehearsals at Easy Eye, they were going through the gear vault and brought out the usual suspects—The Marshall, the Danelectros, the Fender Quads. But something was lacking, so the Dans headed down to Nashville’s Carter Vintage and scored two early ’70s silverface Fender Bandmaster Reverb TFL5005D heads (shown above). They were keen on getting a fresh Fender wrinkle because Auerbach needed the squishier punch you get from a tube rectifier. The other one tours alongside its brother and stays in the wings as a backup.
As seen in the 2012 and 2014 Rig Rundowns, a big part of Auerbach’s tone was provided by this Fender Quad Reverb platform. (Again, a nod to Ohio hero Glenn Schwartz who used two of these beasts onstage.) Now the Quads are extension cabs for the Bandmaster Reverb head and are loaded with 12" Tubby Tone Alnico 25-watt Hempcone speakers.
While Auerbach did have a 40-watt Danelectro Challenger in his last Rundown (1956 model), he now travels with two different ones from 1949 and 1950. It does have a 15" speaker in it, but the 1950’s speaker is bypassed and feeds into both the Marshall 8x10s. The 1949 Challenger goes direct to FOH for clean baseline tone.
Here’s the backside of this gem.
While the Bandmaster Reverb does have some ’verb dialed into its sound, the bulk of the dark, deep, lush, springy goodness you hear is from the Premier Reverberation unit that’s coupled with a Maestro Echoplex EP-4 for space-rock guitar solos.
The Canadian company helped BTO’s Randy Bachman after he unsuccessfully ran a Fender Champ into his Marshall head. It probably sounded uh-mazing before the combo was fried. So the Garnet H-Zog was invented to allow Bachman to run a lower-powered tube head, as a preamp, before his full stack. Auerbach adopted the approach and uses the no-load tube preamp in front of all his amps. The H-Zog itself is a tube amp with a single 12AX7 and a single 6V6 powering it.
Steve Marion aka Delicate Steve uses this 1966 Melody Maker SG a lot playing behind the Black Keys. In a 2019 interview with PG, he had this to say about it, “The guitar I played on the whole record [Till I Burn Up] was sold to me by my friend, a guitarist named Ofir Ganon, who is the only guitar snob-gear guy whose opinion I care about at all. Ofir sold me a ’66 Gibson Melody Maker SG, which had PAFs in it. The whole album is that guitar.” Steve normally plays .009s because he likes how they’re harder to control and the subtly of strings moving around, but he went with .010s to have more consistent sound for the Keys gig.
On previous Delicate Steve projects before 2019’ Till I Burn Up, Marion used an Epiphone Ltd. Ed. Joe Bonamassa 1958 “Amos” Korina Flying-V. He was gifted this Gibson Custom Shop Flying V VOS from the historic company before embarking on the Let’s Rock tour. It is all original and comes loaded with Custom Buckers.
Appropriately, Steve Marion uses this 2015 Gibson Firebird on the new Let’s Rock song “Eagle Birds.”
Definitely the most Black-Keys-ish of Steve Marion’s arsenal, this 1960 Silvertone Jupiter 1423 sees stage time for songs like “Tighten Up” and “Thickfreakness.”
The only request that Dan Auerbach gave the rest of the bandmates was to try and work with the Fender Super Reverb. (More of a suggestion than demand.) Delicate Steve has enjoyed his time with the Supers because they’re very different than his typical setup. In Delicate Steve he uses an Orange Micro Terror that provides a squashed, overloaded, overdriven sound whereas the Super he uses with the Keys offers the neutral pedal platform that needs to cover all the synth and keyboards with his guitar.
A part of his solo setup that’s crept in the Keys show is this custom-built HammerTone head that is chasing the sound of an old tweed Gibson GA-5 Skylark combo. Dan Johnson suggested that Marion run the head through a Palmer PGA-4 speaker simulator/load box and into the Fender Deluxe Reverb’s speaker.
To replicate all the synth, keys, and organ tones heard on the Keys’ albums Brothers, El Camino, and Turn Blue, Steve Marion travels with a hefty board of goodies starting with the Auerbach-favorite Electro-Harmonix Russian-font Big Muff. The rest of the stomp station has an MXR Carbon Copy Deluxe, Xotic EP Booster, JHS Colour Box, EHX C9 and Pitch Fork, Boss TR-2 Tremolo, ZVEX Mastotron, Valeton Coral Mod (a Delicate Steve fave), Pigtronix Octavia, and a Styrmon BigSky. Everything is harnessed by the RJM Mastermind PBC/10 loop controller.
Zach Gabbard and his brother Andy have a longtime connection with the Keys. They were at the band’s first show in Akron and their band Buffalo Killers’ second LP Let It Ride was produced by Auerbach. Coming full circle, Zach was recruited to play bass and sing background vocals on the Let’s Rock tour. Zach’s No. 1 is this Gibson SG Standard Bass—his first short-scale instrument and he absolutely loves it: “I’ve been working too hard for to long [laughs].” It’s a completely stock 2019 model and is strung up with flatwounds.
For this gig, Zach Gabbard moves the Earth with an all-tube Ampeg SVT-VR 300-watt head that powers a matching 8x10 cab.
In addition to running through his cabs, Zach Gabbard uses a Palmer PDI-CTC to provide FOH a clean, pure signal from the Ampeg SVT-VR.
At Zach Gabbard’s feet rest two pedals—an old EarthQuaker Devices Monarch fuzz and a Boss TU-3 Chromatic Tuner keeping his notes in check.
“This is my favorite guitar I own because it’s the best feeling guitar I’ve ever played,” declares Andy Gabbard on his Gibson Les Paul. He safely added the Bigsby via a non-invasive Vibramate, but the rest of the guitar is stock. Gabbard sees his role in the current three-guitar attack is to trust his feeling, following the duo, and accent everything that Dan is doing.
Another guitar, another Gibson for Andy Gabbard. This 2019 Firebird was a pre-tour gift from Gibson. Andy digs it because “it looks cool and it cuts through.”
“This is the guitar I’ve always wanted,” admits Andy Gabbard. This Gibson Les Paul Standard '50s P-90 Gold Top. Gabbard remarks that he had to put a Bigsby on their because his picking hand while hit the strings and then phantom shake because he’s so used to the vibrato arm being used.
For Andy, it doesn’t get any better than Gibson guitars into a Fender amp, and the combo in this equation is a Super Reverb.
An MXR Brown Acid Fuzz, Pigtronix Gate Keeper Micro, and EarthQuaker Devices Dispatch Master are the few stomps help Andy Gabbard get the job done.
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New Epiphone inspired by Gibson Custom Collection features eight new guitar models with Gibson USA pickups, high quality electronics, rosewood fretboards, world-renowned Gibson open-book headstocks, one-piece necks, new vintage gloss finishes, and premium design builds.
For over 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has set the stage for the next era of sound for present and future generations. Epiphone’s game-changing Inspired by Gibson Custom Collection, developed in close collaboration with the skilled luthiers at Gibson Custom Shop in Nashville, Tennessee, continues to expand, establishing a new tier of premium Epiphones for every stage. Featuring Gibson USA pickups and premium electronics, world-renowned Gibson “open book” headstocks, solid wood construction, and one-piece necks, Epiphone’s Inspired by Gibson Custom Collection brings Gibson Custom designs to the masses, adding to Epiphone’s full array of instruments for all player levels. Epiphone's Inspired by Gibson Custom Collection is now available worldwide at Authorized Epiphone dealers, the Gibson Garage in Nashville and London, and on www.epiphone.com.
The game-changing Epiphone Inspired by Gibson Custom Collection collaboration with the artisans at Gibson Custom is expanding with eight new models that feature Vintage Gloss finishes that give them a more vintage-correct appearance without looking overly aged. These guitars look as if they had been purchased new and then spent years sitting in a case that was safely stored away, just waiting for you to discover them. All of the models in the Epiphone Inspired by Gibson Custom Collection now feature rosewood fretboards for even greater authenticity and historical accuracy and USA-built pickups from the Gibson Pickup Shop in Nashville, Tennessee. These are the same high-quality, great-sounding pickups in the USA-built Gibson and Gibson Custom models. All of the models feature vintage-appropriate headstock shapes, from the authentic Reverse Firebird™ headstock on the 1963 Firebird V Reissue With Maestro™ Vibrola™ and the 1963 Firebird I Reissue to the “open book” Gibson-style headstocks on the other models, they give these guitars an undeniably authentic appearance.
“As Epiphone celebrates over 150 years of guitar craftsmanship, each iconic guitar is a tribute to Epiphone's rich history and dedication to quality,” says Aljon Go, Epiphone Product Manager, Nashville, Tennessee. “Our ‘Inspired by Gibson’ collection is all about bringing high-quality guitars based on classic Gibson designs, but at a price that won't break the bank. For those looking for something truly special, our newest ‘Inspired by Gibson Custom’ range offers premium models crafted in collaboration with the Gibson Custom Shop. These guitars are part of our ongoing mission to make the exceptional craftsmanship and elevated appointments of the Custom Shop more accessible to players and fans everywhere.”
Explore the full Inspired by Gibson Custom lineup of premium Epiphone models for players of every level HERE.
1962 ES-335 Reissue:
A 1962 vintage-style ES-335 Reissue Inspired by Gibson Custom
The Gibson ES-335™ is one of the greatest guitar designs of all time. It is renowned for its exceptional versatility and has been used by countless players in a wide range of genres. Combining the best elements of solidbody and thinline hollowbody designs, it’s a highly resonant guitar that resists feedback much better than a full hollowbody due to its interior solid maple center block. Now, Epiphone, in cooperation with Gibson Custom, is proud to introduce the 1962 ES-335 Reissue, a guitar that was very much inspired by Gibson Custom’s ES-335 offerings but purposefully based on a model year that Gibson Custom does not currently reissue – 1962, a year when popular features like rounded cutaways, small block inlays, and a fast-playing, slim neck profile were all present on the Gibson ES-335.
The Epiphone1962 ES-335 Reissue has a semi-hollow 5-ply layered maple/poplar body with rounded cutaways and a solid maple center block for outstanding sustain and feedback resistance. The genuine one-piece mahogany neck has a thin 1960s SlimTaper™ C profile and is capped with a rosewood fretboard that is outfitted with 22 medium jumbo frets and mother-of-pearl small block inlays. The fretboard features rounded edges to give it a comfortable, played-in feel that invites you to explore it for hours at a time. Even the side dot position markers are the same size as on vintage 1962 ES-335 models and are placed in historically accurate locations. The Gibson-style “open book” headstock features the Epiphone logo and Gibson Crown inlaid in aged mother-of-pearl and is fitted with smooth-turning Epiphone Deluxe tuning machines with Double Ring Keystone-style buttons and a Graph Tech® nut. An ABR-1 Tune-O-Matic™ bridge and Gibson historic reissue aluminum Stop Bar tailpiece anchor the strings at the other end directly into the solid maple center block and further contribute to the 1962 ES-335’s excellent sustain. For electronics, a pair of USA-made Gibson Custom bucker humbucker™ pickups are hand-wired to CTS® potentiometers and Black Beauty paper-in-oil capacitors and deliver authentic ES-335 tonal versatility, making the 1962 ES-335 Reissue a great choice for rock, blues, jazz, country, and more. The Sixties Cherry and Vintage Burst finishes have a vintage gloss that gives them a cool vintage vibe. A vintage-style Black hardshell case with a plush Goldenrod interior and Inspired by Gibson Custom exterior graphics is also included to help keep this beautiful 1962 ES-335 Reissue safe during storage and travel.
Epiphone 1962 ES-335 Reissue Semi-hollow Electric Guitar - Vintage Burst
62 ES- 335 Reissue, Vin Burst1960 Les Paul Special Double Cut Reissue:
Special in every way
The Gibson Les Paul™ Special was first introduced as a single cutaway model in 1955, and with the exception of the sunburst Standards that were produced from 1958-1960, it was the last of the original50s-era Les Paul model variants to be introduced. An enhanced version of the Les Paul Junior with increased sonic flexibility, it featured two P-90 pickups instead of the single P-90 found on the Junior and also added a bit of extra bling in the form of a bound fretboard and a mother-of-pearl headstock logo. In 1958, the body shape was revised from a single cutaway to a double cutaway, which delivered improved fretboard access, and the Special hit its stride in 1960 when a thinner SlimTaper™ neck profile and a lower neck pickup placement made it more robust and easier to play than ever.
Now, Epiphone, in partnership with Gibson Custom, is proud to introduce the 1960 Les Paul SpecialDouble Cut Reissue, an Inspired by Gibson Custom recreation of the sought-after 1960 Les Paul Specia Double Cut. Like the originals, it features a slab mahogany body with double cutaways that provide excellent access to the entire length of the fretboard. The one-piece mahogany neck has a fast-playing60s SlimTaper profile and is capped with a rosewood fretboard with 22 medium jumbo frets and mother-of-pearl dot position marker inlays. The fretboard has a 12” radius that makes playing first-position chords and solos with string bends further up the neck equally effortless. The Gibson “open book” style headstock is equipped with Epiphone Deluxe three-on-a-plate tuners with white buttons and a GraphTech® nut to help keep the tuning nice and stable, while a historic style Wraparound bridge with intonation screws solidly anchors the strings at the other end and contributes to the excellent sustain that the Les Paul Special is famous for. A pair of USA-made P-90 Soap bar pickups from Gibson Custom that can go from sweet and clean to outright nasty and dirty-sounding are hand-wired to individual volume and tone controls with high-quality CTS® potentiometers and Bumblebee paper-in-oil capacitors for authentic vintage tones that are sure to please even the most tone-conscious players.
The 1960 Les Paul Special Double Cut Reissue comes packaged in a vintage-style case with a brown exterior and pink plush interior that features Inspired by Gibson Custom graphics on the exterior. It all comes together to deliver a vintage playing and ownership experience at an accessible price that is special in every way.
Epiphone 1960 Les Paul Special Double Cut Reissue Electric Guitar - TV Yellow
60 LP Special Double Cut Reissue , TV Ylw1964 SG Standard Reissue With Maestro Vibrola:
An Inspired by Gibson Custom reissue of one of the most beloved vintage SG models
The 1964 SG™ Standard Reissue With Maestro™ Vibrola™ recreates one of the most beloved SG model years of all time–the 1964 SG Standard. While the 1964 SG Standard was famously used by such notable players as George Harrison and Eric Clapton, the model year was a standout for the SG in general. By 1964, the less intuitive Sideways Vibrato had been replaced with the dependable Maestro Vibrola, while the neck profile increased in size somewhat from the ultra-thin neck profiles found on some of the earlier SG models, and the SG’s balance, playability, and look seemed to come into its own. 1964 was also the first full year that the SG dispensed with the Les Paul moniker it previously used. Now, Epiphone is proud to release the 1964 SG Standard Reissue With Maestro Vibrola, a stunning recreation of that legendary model. Made in collaboration with Gibson™ Custom, the Epiphone 1964 SG Standard Reissue With Maestro Vibrola is the most authentic recreation of the 1964 SG Standard ever released by Epiphone.
All of the classic appointments the 1964 SG Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and an aged mother-of-pearl Gibson crown headstock inlay on the Gibson-style “open book” headstock. The center-seamed, two-piece mahogany body features the comfortable and distinctive bevels that help define a vintage-style SG and make it so comfortable to hold and play. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish is nicely complimented by the nickel hardware, including Epiphone Vintage Deluxe “Double Ring” tuners. A black hardshell case with Inspired by Gibson Custom graphics, gold hardware, and a goldenrod interior is also included.Epiphone 1964 SG Standard Reissue Electric Guitar - Cherry Red
64 SG Std w/Maestro Vibrola Reissue, Chrry Red1963 Firebird V Reissue With Maestro Vibrola:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through- body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.Epiphone 1963 Firebird V Electric Guitar - Polaris White
63 Firebird V Maestro Vibrola Reissue, Polaris Wht1959 Les Paul Standard Reissue:
A 1959 vintage-style Les Paul Standard Reissue Inspired by Gibson Custom, now with a rosewood Fretboard
The 1959 Gibson Les Paul™ Standard is one of the world’s most coveted–and valuable–vintage guitars. It has been embraced by numerous famous players, including Peter Green, Kirk Hammett, and Joe Bonamassa. The 1959 Les Paul Standard is very similar to the 1960 model year that followed it, but with a few differences, most notably, a somewhat beefier 1959 Rounded Medium C neck profile that many players prefer over the thinner SlimTaper™ profile found on the 1960 Les Paul Standard models. Now, Epiphone is proud to introduce the Epiphone 1959 Les Paul Standard Reissue, a beautiful recreation of those rare 1959 Les Paul Standard models. Made in partnership with Gibson Custom, the Epiphone 1959 Les Paul Standard Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1959 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, an authentic 1959 Rounded Medium C neck profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock.
Even the side dot position markers are the same size as on vintage 1959 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are first class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Black Beauty paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Single Ring” Keystone button tuners. A Brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard, but don’t want to sell the house to afford one.
Epiphone 1959 Les Paul Standard Reissue Electric Guitar - Deep Cherry Sunburst
59 LP Std Reissue, Deep Chrry Sunburst1963 Firebird I Reissue:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson™ Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird™ V Reissue With Maestro Vibrola – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird™ was Gibson’s first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper™ Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro™ Vibrola™ with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker™ pickups with Alnico 5 magnets, CTS® potentiometers, Mallory™ capacitors, and a Switchcraft® 3-way pickup selector toggle switch and 1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.1957 Les Paul Goldtop Reissue:
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ’57 Goldtop
1957 was the year that the Les Paul™, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker™ pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic™ bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features
that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. It has a genuine mahogany body with a carved, plain maple cap. It is finished in a new Vintage Gloss version of the classic Gold color that gives it a vintage appearance without looking overly aged. The one-piece genuine mahogany neck has a 50s Rounded Medium C profile and a long neck tenon for excellent stability and sustain. The bound rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets, just like the original models from 1957. It has an aged mother-of-pearl Epiphone logo and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1957 Les Paul Standard models and are placed in historically accurate locations. The hardware is nickel-plated, including the ABR-1 Tune-O-Matic bridge, historical aluminum Stop Bar Tailpiece, and the Epiphone Deluxe “Single Ring” Keystone button tuners. The electronics are also first-class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and 1/4” output jack. A historic-inspired hardshell case with a Brown exterior and pink plush interior and Inspired by Gibson Custom Graphics is also included. The 1957 Les Paul Goldtop Reissue isn’t just a guitar; it’s a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
Epiphone 1957 Les Paul Goldtop Reissue Electric Guitar - Goldtop
57 LP Goldtop Reissue, Goldtop1960 Les Paul Standard Reissue:
A 1960 vintage-style Les Paul Reissue Inspired by Gibson Custom, now with a rosewood fretboard and new Vintage Gloss finish
The 1960 Gibson Les Paul™ Standard is one of the world’s most coveted vintage guitars. It has been embraced by such luminaries as Eric Clapton, Paul McCartney, and Joe Walsh. The 1960 Les Paul Standard is very similar to the famous 1959 model year that preceded it, but with a few changes, most notably, a thinner and faster-playing SlimTaper™ neck profile that many players prefer over the somewhat beefier 1959 Les Paul Standard neck profile. Now, Epiphone is proud to introduce the Epiphone 1960 Les Paul Standard Reissue, a beautiful recreation of those vintage 1960 Les Paul
Standard models. Made in partnership with Gibson Custom, the Epiphone Les Paul Standard 1960 Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1960 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper™ profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words “Les Paul Model” silkscreened in gold on the Gibson-style “open book” headstock. Even the side dot position markers are the same size as on vintage 1960 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTS® potentiometers, Bumblebee paper-in-oil capacitors, and a Switchcraft® pickup selector toggle switch and output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe “Double Ring” Keystone button tuners. A brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard but who want a more comfortable neck profile.Epiphone 1960 Les Paul Standard Reissue Electric Guitar - Washed Cherry Sunburst
59 LP Std Reissue, Washed Chrry SunburstENGL, renowned for its high-performance amplifiers, proudly introduces the EP635 Fireball IR Pedal, a revolutionary 2-channel preamp pedal designed to deliver the legendary Fireball tone in a compact and feature-rich format.
The EP635 Fireball IR Pedal brings the raw power and precision of the ENGL Fireball amplifier into a pedalboard-friendly enclosure, offering unmatched flexibility and tonal control for guitarists of all styles. This cutting-edge pedal is equipped with advanced features, making it a must-have for players seeking high-gain perfection with modern digital convenience.
Key Features:
- Authentic Fireball Tone – Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels – Easily switch between two distinct channels, with each channel’s knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function – Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate – Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C – Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output – Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls – Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4” (6,35mm) Jack
- Output 1/4” (6,35mm) Jack
- Headphone Output 1/8”(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C
We are excited to share that Mod® Electronics is launching a new line of Vintage Amplifier DIY kits,beginning with five models.
These vintage amplifier kits offer enthusiasts the opportunity to construct vacuum-tube-driven circuits from scratch resulting in their own hand-built equipment. Each kit includes all necessary components to build an amp including the chassis and components, as well as comprehensive, colorful, easy-to-follow instructions. These kits are available standalone, or can be paired with a matching cabinet and/or speaker.
These kits are available in the following circuits and cabinets:
- 5F1 - 5 Watt, Tweed Champ style - Amp kit only - $385.95, Amp kit + Speaker + Cabinet (complete build) - $720.90
- 5E3 - 12 Watt, Tweed Deluxe style - Amp kit only - $565.95, Amp kit + Speaker + Cabinet(complete build) - $968.51
- AA764 - 5 Watt, Blackface Era Vibrato style - Amp kit only - $535.95, Amp kit + Speaker + Cabinet(complete build) - $964.82
- AA1164 - 12 Watt, Blackface Era Reverb style - Amp kit only - $695.95, Amp kit + Speaker +Cabinet (complete build) - $1093.49
- AB763 - 22 Watt Blackface Era Reverb style - Amp kit only - $855.95, Amp kit + Speaker + Cabinet(complete build) - $1354.49
Mod® Kits cater to musicians of all skill levels, providing an accessible way to build custom amps and effects pedals. To help you choose the right project for you, each kit has a build difficulty rating.The kits come with user-friendly instructions and utilize point-to-point wiring. Each kit includes a pre-drilled enclosure and all necessary parts; you'll just need to supply basic hand tools, a soldering iron, and solder.
Available now at Amplifiedparts.com.
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?