Among the highlights are collaborations with Tony Iommi, Adam Jones, a new acoustic custom shop, and the Historic Reissue ES Collection.
Nashville, TN (January 10, 2020) -- For the past 126 years, Gibson has been synonymous with creating and shaping sound. The new Gibson era celebrates the iconic models of the Gibson Golden Era while leaning into the future with instruments that nurture new players across generations, genders, and genres of music. In 2019, Gibson emerged as the legitimate leader again by offering new, relevant and award-winning guitars. Combined with a re-energized brand and renewed commitment from all Gibson artists, 2020 is set to take Gibson to the next level as they showcase the new line-up, launch history-making new collections and artist collaborations during Winter NAMM 2020 in Anaheim, CA (January 15-19).
The Gibson Original Collection brings classic design, innovation and authenticity back into the hands of Gibson fans. These include the legendary Les Paul Standard 50’s and 60’s. “Less than one year ago we launched the new Original Collection as a way of going back to the 50’s and 60’s, to pay tribute to our iconic Golden Era bringing those classic designs back into the hands of Gibson fans” says Cesar Gueikian, Chief Merchant Officer of Gibson.
“The Modern Collection reflects a new era of innovation, something Orville Gibson started in 1894 and Ted McCarty fueled in the 50’s and 60’s. It incorporates many contemporary updates that players have embraced, such as lighter-weight bodies, push-pull systems to switch between the Burst Bucker and P90 sounds, innovative slim-taper necks with asymmetrical profiles, shaved heels for effortless access to the highest frets,” adds Cesar.
Gibson is expanding the Original Collection with new 70s-style Flying V and Explorer. The iconic ‘70s Flying V has been redesigned with a bound rosewood fingerboard, slim taper neck, and a pair of uncovered ‘70s tribute burstbuckers all hand-wired with orange drop capacitors and available in classic white finish with matching headstock, silver reflector knobs and chrome hardware. The ‘70s Explorer has traveled stages the world over. Now featuring a pair of ‘70s tribute burstbuckers, hand-wired with orange drop capacitors, this new Gibson Explorer begs to be played loud. With its classic white finish, bound rosewood fingerboard, black speed knobs and chrome hardware, it looks as iconic as the generation of music it helped create.
Gibson is adding to the Modern Collection with a new Les Paul Special Tribute in two configurations of pickups (Humbucker and P-90) at an entry point of $999 and made in USA by the same hands that make the sister Original Collection Les Paul Special TV Yellow guitars.
“The Gibson Custom Shop is the pinnacle of craftsmanship, quality and sound excellence. Each instrument celebrates Gibson’s legacy through accuracy, authenticity and attention to detail,” says Cesar. “We recently created the Murphy Lab at the Gibson Custom Shop with Tom Murphy as Master Artisan. Together, we are re-imagining and implementing new ways of delivering the Gibson Custom Shop historic experience to our extended fan base of guitar enthusiasts.” Tom will bring his expertise, authentic style and his passion for building historically accurate guitars to Custom Shop to shape the future of the Murphy Lab and cement his legacy.
2020 will introduce new 60th Anniversary 1960 Les Paul Standards in three versions. Those made in the first third of the year (V1) share the same specs as their 1959 peers, while the middle third (V2) have thinner neck profiles, different knobs and brighter colors. The final third (V3) feature even thinner neck profiles. Each version inspires generations of players in different ways, making music history all the while.
The Gibson Custom Shop is launching a new Historic Reissue ES Collection -- with True Historic parts, authentic dimensions and contours scanned from priceless vintage originals.
The Custom Shop will also be showcasing a new and limited run of historic reissues in a rainbow of custom colors. These include iconic models such as 1963 and 1964 Firebird V, 1964 SG Standard, 1965 Non-Reverse Firebird V, 1967 Mahogany Flying V, all with w/Maestro Vibrola, 1963 SG Special with Lightning Bar and the modern Les Paul Special Double Cut. The custom colors include Pelham Blue, Candy Blue, Frost Blue, Olive Drab, Classic and Polaris White, Inverness Green, Heather Poly, Silver and Gold Mist Poly, Kerry Green, Cardinal Red, Ember Red, Sparkling Burgundy, Purple Metallic, Black, Pink and others.
2020 will also bring multiple, limited-edition artist collaborations including a Trini Lopez Standard as a Core Historic Reissue model and the iconic Tony Iommi “Monkey” SG. “Tony Iommi's iconic riffs, heavy tones and massively-influential albums created the blueprint for Heavy Metal and many other genres to follow,” explains Cesar. “Having the opportunity to work with Tony to recreate his original 1964 SG is the ultimate honor for all of us at Gibson.”
“Recently I was invited to Nashville by Cesar and JC who I must tell you are so enthusiastic and passionate,” explains Tony Iommi. “I had the opportunity to go to the factories, meet the people that work there, and I saw how dedicated they all are. Gibson guitars have lifted a million times, with the new team being totally involved and that’s what’s been missing in Gibson for a long time now. There’s no stopping them, which is great for all of us guitar players,” adds Iommi.
Tony Iommi’s career, like the man himself, is universally loved and revered. And while his innovative tuning and playing styles were a major part of his monstrous tones, a Gibson SG named "Monkey" was at the center of it all. This heavily-modified 1964 SG Special was used extensively with the original lineup of Black Sabbath and heard on every album and tour of the 1970s. Thanks to the meticulous reverse-engineering and painstaking attention to detail employed by Gibson Custom Shop, 50 exact replicas have been created, 25 right-handed and 25 left-handed like the original, each signed and numbered by Tony Iommi himself. No detail was overlooked in the construction and aging, telling the complete story of the “Monkey” from the zero fret to the stop tailpiece bushings to the legendary pickups, which were hand-made in the U.K. by the apprentice of the late John Birch. Each guitar will even include an exclusive replica of Tony's silver cross necklace with a coffin case, a replica of Tony's leather touring guitar strap and a 1960s replica case.
The Gibson Custom Shop is also working with legendary and multi-talented Tool guitarist artist, sculptor, special effects designer, videographer and producer Adam Jones on recreating his original 1979 Les Paul Custom Silverburst that can been seen live on stage with Adam today in support of their world tour and blockbuster new album Fear Inoculum. More details to come on this project later in 2020.
“2020 brings a renewed focus on our acoustic guitars, just like we did with our electric guitar portfolio, applying the same principles of craftmanship. We are recalibrating our acoustic portfolio into Original and Modern Collections and launching an Acoustic Custom Shop with Historic and Modern Collections,” explains Cesar. “Our acoustic guitars have defined sound for 126 years and we intend to leverage that heritage and bring new iconic instruments to the hands of new generations of players.”
Gibson is pleased to announce the newly created Gibson Acoustic Custom Shop based in Bozeman, Montana. “With the Acoustic Custom Shop, we are bringing back all the acoustic icons in their true historic form with the Historic Collection and leaning into the future with our ornamented Modern Collection,” says Cesar. The Acoustic Custom Shop Historic Collection includes a 1942 Banner J-45, 1942 Banner Southern Jumbo, 1934 Jumbo, 1936 Advanced Jumbo, 1939 J-55, 1952 J-185, 1957 SJ 200, 1960 Hummingbird, Pre-war SJ 200 Rosewood and more.
The Acoustic Custom Shop Modern Collection will explore the push and pull between classic designs and modern materials with bodies designed for comfort and modern voice, easy-playing slim-taper necks and a flatter fingerboard radius for enhanced feel. It includes a J-45 Deluxe Rosewood, Songwriter Chroma with Quilted Maple, Hummingbird with Custom Koa and many more.
The Acoustic Custom Shop recently launched the most highly customized Country Western in Gibson’s history. Created for Sheryl Crow and based off her own Country Western, the features of this signature model are designed to deliver the sweet voice of our classic Country Western with the added punch created from our 1930's Advanced bracing pattern. The Thermally Aged Sitka spruce top and hide glue provide additional projection and increased expression with a wider dynamic range.
Gibson Acoustics continues the success of the new G line of acoustics--high-quality, USA-made guitars built by the same hands that make the J-200 and J-45’s with a price point for younger, or newer, “generations” of players. The new Gibson Generation line’s offerings, the G-45 Studio and G-45 Standard, priced at $999 and $1299 respectively, feature solid Sitka spruce tops and walnut back and sides and exquisite finishes. “We are energized by the success of the Gibson Generation G-45 guitars, we can’t make enough of them!” says Cesar.
Adding to the new artist collaborations, Gibson worked closely with Frank Hannon guitarist, songwriter and co-founder of the multi-platinum band Tesla, to bring fans a new “Love” Dove in celebration of the 30th Anniversary of “Love Song,” and Kazuyoshi Saito on a signature J-45.
“Teaming up with Gibson to create the timeless Love Dove acoustic guitar has been a joy because of the love that the Gibson team has for music, and the artists who make it,” says Frank Hannon of Tesla. “I recorded many of Tesla’s classic acoustic driven songs with an original 1970s Gibson Dove, and now we have together created the Love Dove acoustic guitar in its glory to celebrate the 30th anniversary of Tesla’s ‘Love Song’.”
By leveraging its iconic past and leaning into the innovative future, Gibson has set the stage for the next era of shaping sound for present and future generations.
For more information:
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Learn how Adrian Belew's BEAT Tour came together to include Tony Levin, Danny Carey, and Steve Vai—plus King Crimson, Bowie, Zappa, Talking Heads, and more.
The BEAT Tour, featuring a superband of Adrian Belew, Tony Levin, Steve Vai, and Tool’s Danny Carey, begins on September 12 in San Jose, California, and continues into December, playing repertoire from King Crimson’s highly influential ’80s albums Discipline, Beat, and Three of a Perfect Pear. PG’s editorial director Ted Drozdowski sat down with Adrian in his home studio to talk about how these four great players came together, Adrian’s decades in Crimson, and Robert Fripp, Bowie, Zappa, Talking Heads, and more. Also, stay tuned for our exclusive Rig Rundown, coming soon!
Realistic and highly controllable Leslie sounds from an essentially easy-to-use stompbox. More control than some similar-priced models. Stereo ins and outs.
Drive control could be more responsive and, at higher settings, more subtle. Slow-fast switch’s multi-functionality can be initially confusing, so save the instructions.
$299
Keeley I Get Around Rotary Simulator
robertkeeley.com
A highly controllable, mid-priced rotary speaker simulator inspired by the Beach Boys that nails the essential character of a Leslie—in stereo.
There’s nothing cooler than using a Leslie cabinet in the studio, and few things worse than having to lug one to gigs. The famed Leslie 981, for example, weighs nearly 150 pounds. Enter the rotary speaker pedal—an easy-on-the-back alternative for players who are looking to conjure Leslie-derived guitar sounds employed on classic records by Hendrix, Pink Floyd, Led Zeppelin, the Beatles, and others.
California Roller
There are a lot of good options for on-the-floor rotary pedals between $99 and $549. At $299, Keeley Electronics’ new I Get Around Rotary Simulator falls in the middle of the pack on pricing but has an array of functions that make it competitive with costlier examples. The I Get Around is part of a collaboration between Keeley, JHS Pedals, and Benson amps, dedicated to creating five limited-edition effects in tribute to the Beach Boys. I can’t recall many Beach Boys tracks with Leslie-style guitar, but Brian Wilson did use the effect on brother Carl’s guitar on 1965’s “You’re So Good to Me,” and a year later on the song “Pet Sounds.”
At 5" x 4" x 2", the I Get Around is a little larger than the average stompbox, but that’s necessary to accommodate the three big dials on top (blend, drive, and speed) as well as the on/off (which also works to select true bypass or buffered mode) and slow-fast switches, plus the stereo inputs and outputs. Using two amps in stereo makes the flutter and warble of the rotary sound more pronounced and immersive. It’s truly psychedelic. There’s also a toggle that adds a 4.5 dB mid-boost, which fattens and tightens the tone enough for me to simply want to leave that boost engaged all the time.
How I Got Around
I ran the I Get Around—powered by a 9V barrel connector at 130 mA— through a pair of Carr amps, playing a Gibson Les Paul Standard and a PRS SE Silver Sky, and blended the pedal with overdrive, fuzz, and delay as I experimented. I love the extra-large size of the speed control, which let me adjust the rate of simulated rotation at a whim with my shoe. The speed’s range is .06 Hz to .6 Hz, with 1 Hz being one revolution per second, and all the speed settings sound great and conjure the vibes you’d want from a Leslie, from velvet-painting dreamscapes to edgy, breathless Robert Ward- and David Gilmour-style psychedelic blues. Add a little delay and the sound becomes spongier and stranger, but too much, of course, can turn things to muck, as can an overbearing fuzz.
The drive control is a subtle overdrive that simulates a pushed 6550 and 12UA7 tube. At moderate amp volume, it doesn’t add much discernable grit until about 9 o’clock. Past 2 o’clock it rolled off enough top end to make my guitar sound less potent. But between those demarcations lies a very sweet spot for adding beef. The blend control starts being effective at about 8 o’clock, when the first hints of the rotary sound become a backdrop for the guitar’s voice, and then it's just a matter of turning up to taste—including cranking all the way clockwise to entirely eliminate your core guitar sound in favor of the rotary effect alone. For my taste, the best overall sounds were achieved with subtle-to-pronounced blends, between 9 o’clock and a bit past 2, that added rotary effect to my always-present basic guitar tone, thickening, supporting, and swirling behind it.
The slow-fast switch is all about drama. It allows toggling between two speed settings, and when it’s held down it stops the rotating speaker effect, which resumes when the switch is pressed again. The ramp rate can be customized as well. I like it slow, so the activation of the swirl is audible.
The Verdict
Keeley’s new I Get Around Rotary Simulator commands all the essential sounds you’d want from an actual Leslie. Unlike some pedals in its price range, it’s got stereo outs, which, to my thinking, are essential, because the rotary effect sounds best through guitar amps run in stereo. Also, the deep functionality beyond the basic adjustments of the three topside dials is attractive, adding more Leslie-like realism. There are cheaper alternatives, but to find competitive or better examples, you’ll need to reach deeper into your pockets.
Keeley I Get Around Rotary Simulator Pedal - Sweetwater Exclusive, Limited Release
I Get Around Rotary SimulatorOur columnist’s musings on honey bring him back to a forgotten little guitar company in Japanese history that didn’t last very long, but produced some interesting models.
One of the guys I work with is such an interesting fella. Dylan has an opinion on literally every topic, and I take amusement by asking him all sorts of probing questions.
For instance, he only wears t-shirts made from a certain blend (I’ll wear anything), and he likes smoke-infused whiskey (I drink mine straight), and he can go into great detail about an array of things like infusers, griddles, recording software, artificial intelligence, and the list just goes on and on. It seems like I, on the other hand, only have a certain amount of brain bandwidth and I don’t really ponder things of the material world, unless it’s guitar-related.
Recently, he was telling me about the rise of hot honey! He’s always telling me about recipes and how he uses it, but I have to say, anything that’s hot always turns me off. I used to love heat and spice and I could really eat anything. Yours truly even won a chicken-wing-eating contest (101 wings, baby!) with scorching hot sauce. I can even remember working at a restaurant back in the day, and the cooks were always challenging me with hot-sauce concoctions. Even the Jamaican dudes there couldn’t believe how I could inhale heat without a tear. Alas, all the years of trashing my body eventually caught up with me, and now if I eat anything that’s spicy, my belly and bowels just give up the ghost.
So, all this talk with Dylan about hot sauces and hot honey got me thinking about the old guitar brand, Honey. Looking back, I can’t believe I’ve never written about the little company before, but it was just a blip in guitar history—albeit a cool blip.
The story goes that in 1965 the Japanese guitar company Kawai had purchased the Teisco company. Teisco had its headquarters in Tokyo and made mostly electronics there. The wood production was done at a plant called Teisco Gen Gakki, which was located near Matsumoto City. Within a year or so, Kawai brought all-wood production to its own plant and Teisco Gen Gakki went idle.
Some former Teisco employees, who had mostly lost their jobs in this production shift, decided to make a go of their own at the guitar business. From this time, we see the brands Firstman, Idol, and Honey. The Honey Company made all sorts of products, including amps and guitars, and the company only sold in the Japanese market. Honey had a few wild designs, but mostly the guitars were copies of Rickenbacker, Gibson, and Höfner. But then there were these crazy one-off models, like this Honey Happening guitar from 1968. I’ve never seen another one and the only photos I can find online are all of this same guitar! One of my good Japanese friends gifted this to me.
The Happening takes its name from common terminology of the time, like, “It’s what’s happening,” meaning “hip” or “cool,” but this one is one of the coolest, with that elongated upper bout contrasting a super-short lower one. It has a Bigsby copy resting on the beveled-out section at the butt, which is another detail that’s rarely seen. If you check out the pickguard, there’s a cute little bumblebee there with “happening” written across in an old typeface. The headstock design is also noteworthy, featuring an extra-large truss-rod cover with two little diamond-shaped accents.
This solidbody is powered by two sizzling pickups that are Mosrite copies. It has a stinging sound—sorry—and sets up well with the adjustable bridge. Electronics round out with simple volume/tone knobs and a 3-way pickup selector switch. The only part I personally dislike on this guitar is the tuners, which can be finicky. But the guitar itself is surprisingly well-balanced and is a joy to play.
The Honey Company started business in early 1967 but was bankrupt in March of 1969. All Honey guitars and amps are extremely hard to find today, and if you have a good example, consider yourself one of the lucky ones. So instead of hot honey, let’s give a little props to a cool Honey.
1968 Honey Happening Guitar Demo
Frank’s friend Mike Dugan demos the Honey Happening 6-string.
Discover the SoloDallas Orbiter Fuzz, a meticulously crafted effects pedal designed to blend genuine vintage tones with user-friendly versatility.
Building upon the legacy of the 1966 Arbiter Fuzz, the Orbiter Fuzz enhances this classic circuit with advanced fine-tuning circuitry.
Key Features:
- Vintage Tone: The Orbiter Fuzz delivers smooth, musical fuzz tones with cutting sustain, offering immediate inspiration.
- Vintage Power: Our unique power circuit internally converts modern wall power to emulate the draw of a vintage carbon zinc battery.
- "Sweet Spot" Dial: An internal mini potentiometer allows you to dial in the perfect impedance response for your favorite pickups.
Versatile Controls:
- FUZZ: Adjusts the overall amount of fuzz by shaping the signal’s waveform from triangular to square as the knob is turned clockwise.
- GAIN: Increases the amount of signal entering the circuit, pushing it into harmonic clipping for smooth overdriven fuzz tones.
- BIAS: Modifies voltage to the matched pair of transistors, unleashing a wide range of vintage fuzz tones. Lower voltages produce spitty Black Keys responses, while higher voltages create smooth American Woman fuzz.
- Compact Design: Optimized for pedalboard space and easy integration with any standard pedal.
- Durable Construction: Crafted for reliability to withstand rigorous touring conditions.
Technical Specifications:
- Input Impedance: 500 kOhm
- Output Impedance: 10 kOhm
- Power Requirements: External 9V DC center-negative power supply
- Dimensions: 4.75" x 2.50" x 1.5"
- Weight: 0.8 lbs
- Bypass: True bypass
Design Details:
- Custom Artwork: Retro space-age design that pays homage to the Arbiter’s flying saucer enclosure.
- High-Quality Housing: Durable reinforced steel enclosure with a vintage metallic blue hammered finish.
Why You Need the SoloDallas Orbiter Fuzz Pedal:
A great fuzz pedal is essential for every guitarist and bassist. The Orbiter Fuzz offers the smooth, singing fuzz tone every musician dreams of, combining musicality with the reliability you need. If you’re looking for a pedal that excels in both sound and style, the Orbiter Fuzz is a must-have. Complete your search for the perfect fuzz pedal with the Orbiter Fuzz.
Arriving on Planet Earth 9/1/24! The Orbiter Fuzz will be available for purchase exclusively at SoloDallas.com starting September 1, 2024. The first 100 orders will include a SoloDallas swag pack guaranteed to impress. All SoloDallas orders ship within 24 hours.
Price: $249 USD.