The company teamed with Chuck Berry’s Son and Grandson to create Berry’s famed ES-350T which will be out this year.
Nashville, TN (January 18, 2019) -- As previously announced, in 2019, after more than a century, Gibson artists, players and fans will experience the all American-made instrument brand rejuvenated. The guitar of choice for artists in rock, pop, country, blues, folk, jazz and beyond, the new Gibson era celebrates iconic models while looking to the future with instruments that will nurture new players across generations, genders and genres of music. Gibson will showcase the new line-up and artist collaborations next week at NAMM in Anaheim, CA, January 23-27. The new Gibson guitars will be available for purchase later this year.
“We’re paying tribute to the Golden Era of Gibson by restoring authenticity for musicians with our new lineup of Classics,” says Cesar Gueikian, Gibson’s Chief Merchant Officer. “True to our DNA, our new Les Paul Standard returns to the classic design that made it famous. And the same can be said of other models” adds Gueikian. Designs like the Les Paul and the SG once again embrace the features and construction details that made them legends in the first place: a Les Paul Standard ‘50s spec and a Les Paul Standard ‘60s spec as well as one with P90 pickups; a Les Paul Special in TV Yellow and Les Paul Junior Tobacco Burst; an SG Standard and two new 61 spec SG’s with “maestro” and “sideways” Vibrolas.
“We’re refocusing on our core range of guitars that will become the foundation for our future,” Gueikian says. “And that will give us the ability to bring new ideas to market with limited runs.
The new Contemporary lineup includes a Les Paul Tribute Double Cut Junior with a single P90 and a Les Paul Tribute Double Cut Special with dual P90’s, both offer fans an accessible price point with the quality and craftmanship of a Gibson guitar made by our luthiers in Nashville, TN. “The Contemporary line also introduces a new concept with the Les Paul and SG Modern,” adds Gueikian. “We did a listening tour visiting with dealers, artists and guitar enthusiasts and took the best ideas into the new Modern offerings. They incorporate many contemporary updates that players have embraced such as lighter-weight bodies, innovative slim taper neck profiles for full-access to the high frets, ebony fingerboards, high output versatile pickups and a push-pull control system to pivot between the humbucker and the P90 sounds, both of which have defined so many genres of music since we invented them.”
“This refocusing extends well beyond Gibson’s electric guitar designs onto our acoustic designs,” adds Gueikian. For starters, there is the new Gibson Generation line of acoustics--high-quality, USA-made guitars built by the same hands that make the J-200 and J-45’s by providing premium access aimed to younger, or newer, “generations” of players. This new Gibson Generation line’s first 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 very excited about the new Gibson Generation line offering the Gibson craftmanship at an accessible premium price point.”
At the pinnacle of Gibson, is the Gibson Custom Shop which is currently making the most historically-accurate vintage re-issues ever made. “We have recently put our Custom Shop re-issues in the hands of some of the most knowledgeable vintage experts and collectors, who inspected every detail and put them through the lens of the ‘ultimate guitar geek test’ and they were blown away by our craftmanship, accuracy, ageing techniques and sound,” says Gueikian. “And then you have our made to measure custom program, where our artists and fans can design their own guitar, which today represents a large and growing share of our Custom Shop production. That’s a testament to the quality, craftmanship and innovation being driven out of the Custom Shop.”
“The future of Gibson will see a much more holistic, integrated approach to working with our artists.”
Gibson teamed with Chuck Berry’s Son and Grandson to create Berry’s famed ES-350T which will be out this year. Gibson will also release a limited-edition, Chris Cornell Tribute Model ES-335; only 250 will be available with a portion going to charities in his name. Over the years, Gibson partnered with Chris to work on his original ES-335 Artist Model and it was immediately clear that he had an innovative eye for guitar design. Features like the aged Lollartron humbucking pickups, clear “no number” Top Hat knobs, Olive Drab Satin finish, and Mother-of-Pearl Chris Cornell ‘signature’ peghead inlay make this guitar one of Gibson’s most distinct artist offerings to date and more importantly a fitting tribute to Chris Cornell.
Across all of Gibson’s product lines, the story will continue be told with the brand’s greatest partners--its musicians. In addition to receiving input and advice from legendary players like Slash, who tested the new line of Les Paul classics and has taken them on his new tour, Gibson currently has a wide array of exciting signature models in development with musicians (see the list below with more to come later in the year). “Our artists are going to be an integral part of what we do,” Gueikian says. “Our solutions for guitarists will continue to leverage the past and set up the future at all levels. We’re excited about musicians from the past, present and future at all levels. We work for the artist, it all starts with our musicians.
There is a renewed commitment to additional guitar brands under the Gibson umbrella, including Epiphone, Kramer and Steinberger, the first of which Gibson President and CEO James “JC” Curleigh says will play a significant role in the company’s new vision. “If you look at Epiphone’s heritage, it dates back to 1873—and its full story is yet to be told. And who played Epiphone? Paul McCartney. Bob Dylan. John Lennon. There’s an incredible lineage there, and Epiphone guitars are some of the highest-quality accessible guitars in the world. They’re amazing instruments, especially for the price, which is why so many working musicians play Epiphone. The Epiphone story is one that we can’t wait to tell through a modern-day lens.”
Signature Artist Guitar Announcements 2019:
- George Thorogood – Epiphone Ltd Ed Thorogood “White Fang” ES-125TDC
- Jared James Nichols – Epiphone Limited Edition Jared James Nichols ‘Old Glory’ Les Paul Custom Outfit
- Chris Cornell – Chris Cornell Tribute Gibson ES-335
- Dave Rude – Epiphone Limited Edition Dave Rude Flying V Outfit
- Dave Amato – Custom Shop Dave Amato Signature Axcess Les Paul
- Brian Ray – Custom Shop Brian Ray 62 SG Jr.
- Lee Roy Parnell – Custom Shop Lee Roy Parnell Signature 1959 Les Paul Standard
- Slim Harpo – Slim Harpo ’62 ES-330
- Michael Clifford – Michael Clifford Signature Melody Maker
- Chuck Berry Estate – Custom Shop Chuck Berry Tribute ES-350T
For more information:
Gibson
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
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
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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.