Gibson has expanded artist collaborations including the addition of the new Kirk Douglas SG, developed alongside Captain Kirk Douglas of The Roots, the Slim Harpo ES 330, the and the forthcoming line of Thunderbird basses, guitars and more with the G2 Gene Simmons and Gibson partnership.
Nashville, TN (January 25, 2021) -- For the past 127 years, Gibson has been synonymous with creating and shaping sound. With instruments that inspire Gibsonās legendary artists and nurture new players across every generation and genre of music, Gibson has emerged as the legitimate industry leader by offering award-winning, relevant guitars and new ways for artists to connect and grow. Gibson is played by the best and brightest artists, across generations and genres and has emerged as the most relevant, most played, and most loved guitar brand around the world.
Following are the new collections and artist collaborations highlights for Gibson USA in 2021:
Gibson USA has been shaping sound across genres and is played by the most influential guitarists across generations. Innovators of the electric solid body guitar and the aspiration of players around the world.
The Gibson Original Collection brings classic design and authenticity back into the hands of Gibson fans, with a Collection that is representative of the Gibson Golden Era. These include the legendary Les Paul Standard 50ās and 60ās and new for 2021 the Non-reverse Thunderbird Bass, features and a long-scale 34-inch set neck, with improved balance, available in original colors including Inverness Green, Sparking Burgundy, and Pelham Blue.
The Gibson Modern Collection brings a new era of innovation into the hands of players of levels and music genres, something Orville Gibson started in 1894 and Ted McCarty fueled in the 50ās and 60ās. 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. Available in 2021, the ES Made In Nashville collection includes the ES 339, ES 339 Figured and an ES 335 Satin.
āInnovation has been a driving force for us from the very beginning, since 1894 when Orville Gibson started making mandolins and subsequently guitars,ā says Cesar Gueikian of Gibson. āThatās why we launched the Gibson Labs, which include the Gibson Development Lab, Prototype Lab, Custom Shop Murphy Lab and our new Sound Lab. Our overall mission is to pay tribute to our iconic and innovative past by leaning into the future through testing, driving the development of sound solutions, in service to Orvilleās original mission which stated that everything that goes into the instrument has to contribute to its sound. We take this very seriously.ā
New in 2021, Gibson has expanded artist collaborations including the addition of the new Kirk Douglas SG, developed alongside Captain Kirk Douglas of The Roots, the Slim Harpo ES 330, the and the forthcoming line of Thunderbird basses, guitars and more with the G2 Gene Simmons and Gibson partnership. The Slash āVictoriaā Goldtopā guitar joins the Slash Collection which marks the first evergreen guitar collection for Gibson and an artist in the brandās history. The Slash Collection also includes four Les Paulās and two J-45ās spanning the influential Gibson guitars Slash has used throughout his career, inspiring multiple generations of players around the world.
The original. Aspirational, Authentic. Electric and Acoustic. The ultimate in craftsmanship, art and historical accuracy. Gibson Custom Shop is the pinnacle of Gibson and the most coveted instruments on earth. Hand-made in USA using generations old techniques that defined guitar making. The Gibson Custom Shop is the crown jewel of the industry.
The Gibson Custom Shop Historic Collection is defined by the master luthier techniques that embody Gibsonās DNA including ultra-accurate recreations of iconic Gibson shapes spanning electrics and acoustics with period correct appointments and superior attention to detail. New for 2021 is the 60th Anniversary 1961 SG Standard with Sideways Vibrola in Cherry Red VOS and the 60th Anniversary 1961 SG Custom with Sideways Vibrola in Classic White VOS.
The Gibson Custom Shop Modern Collection employs the cutting-edge design techniques and innovations that continue to drive the industry forward. Custom Shop Modern is comprised of highly elegant, tonally superior, and uniquely hand-crafted instruments.
New for 2021, Gibson Custom Shop artist signature guitars include the Marcus King 1962 ES-345, Peter Frampton āPhenixā Les Paul Custom VOS, a Jerry Cantrell āWinoā Custom, and a Sergio Vallin (Mana) 1955 Les Paul Bigsby and more.
The Murphy Lab is an all-new lab within Gibson Custom Shop led by Tom Murphy which is dedicated to the art of innovation, and aging guitars using the latest and most sophisticated technology and tools. Each Murphy Lab artisan has been trained by Tom Murphy to be expert level using Tomās processes and specifications to provide distinct levels of age and wear ranging from Ultra Light to Ultra Heavy. The Murphy Lab will offer a Murphy Lab Collection and a Murphy Lab Menu of aging options for Made to Measure. Every Murphy Lab aged instrument takes a separate path through the Custom Shop, receiving the new Murphy Lab lacquer formula and hand-applied techniques. Each Murphy Lab instrument is a unique work of art that provides the ultimate vintage look, feel, and ownership experience.
āThe Gibson Custom Shop is the pinnacle of craftsmanship, quality and sound excellence. Each instrument celebrates Gibsonās legacy,ā says Cesar Gueikian of Gibson. āThe Murphy Lab, one of our Gibson Labs, is where we re-imagine and implement new ways of delivering the Gibson Custom Shop historic experience. Master Artisan Tom Murphy brings his expertise, authentic style and his passion for building historically accurate guitars to the Murphy Lab Collection.ā
The trademark Gibson Acoustic sound is defined by our signature characteristics from dovetail neck to body joint, domed top, and scalloped bracing to nitro lacquer. Made in Bozeman, MT, Gibson Acoustics are the pinnacle of hand-crafted quality, and sound excellence. Each instrument celebrates Gibson's legacy through accuracy, authenticity, beauty and attention to detail.
ā2020 brought a renewed focus on our acoustic guitars, just like we did with our electric guitar portfolio,ā says Cesar Gueikian of Gibson. We not only recalibrated our acoustic offerings into Original and Modern Collections we also launched the Acoustic Custom Shop, based in Bozeman, Montana, with Historic and Modern Collections. Our acoustic guitars have defined sound for 127 years and we intend to leverage that heritage and bring new iconic instruments into the hands of new generations of players.ā
he 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 Gibson Acoustic Original Collection is the standard of acoustic guitars. Iconic shapes and appointments that started a revolution, vintage-style pickguards, tuners and bridges, traditional inlays, and antique finishes define the Original collection. Paying tribute to our iconic past, the Original Collection is a stunning representation of the classic Gibson acoustic guitars that shaped sound across all generations and genres of music.
The Gibson Acoustic Modern Collection offers a modern take on our classic shapes with innovative appointments that appeal to the demanding needs of todayās player. Modern voicing, easy-playing SlimTaper necks with a flatter fingerboard radius, high-ratio enclosed tuners and advanced pickup systems round out the Modern collection. The Modern Collection builds on our legacy of innovation by introducing modern features and shaping sound for future generations. New for 2021, is a J-45 Standard 12-String model, as well as new colorways to reflect Modern Collection principles including the J-45 Standard in Cherry, the Hummingbird Standard in Vintage Sunburst, the SJ-200 in Wine Red and Autumn Burst.
Also, new for 2021 from Gibson Acoustic Custom Shop the SJ-200 Western Classic. Gibson Acoustic signature artist guitars include, the new Orianthi SJ 200, a Tom Petty SJ-200 Wildflower, the Noel Gallagher J-150 and the Slash Collection J-45 models.
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:
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 stylesāB.B. Kingās shake, Claptonās subtle touchābut the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balanceādonāt overdo it, but donāt 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 youāre plugged in.
Letās talk about guitar amp history. I think itās 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 radiosāalthough Iāve 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. Iām 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, itās clear thatās where the original Marshall JTM45 amps came from. Also, Iāve 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, Iām saying weāre 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. Whatās 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 āloop.ā 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 tubeāand then modelingāamplifiers.
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 suppliesāincluding 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 didnāt even mention the speakers or speaker cabinets and the artform behind those. But whatās 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, youāre trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. Itās daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Lenny Kravitzās lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hatsāShred 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? Donāt 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, āAre You Gonna Go My Way?ā Ross explains that it came together from a loose, improvisatory jam in the studioātestament 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: Kravitzās 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 songās blistering lead bits, plus learn about what amps Ross is leaning on these days.
If youāre 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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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 BartoliniĀ® pickups and preamps results in basses with the tonal flexibility that todayās players require. Donāt settle for less than a bass that delivers everything you want and need āthe look, the feel, and the sound, Tobias.
āIām thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,ā says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. āThis revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.ā
āItās amazing to see this icon of the bass world return,ā adds Andrew Ladner, Brand Manager for Epiphone and Kramer. āThese models are truly a bass playerās bass, and true to the DNA that makes Tobias world-classāthe ace up the sleeve of bass players around the globe since 1978. Todayās players can find that unique voice and feel that only Tobias can offer.ā
For more information, please visit gibson.com.