ESP has debuted a number of new additions at the 2025 NAMM Show.
At the 2025 NAMM Show, ESP Guitars (NAMM Booth 210D) debuted 10 new guitars in their popular LTD Deluxe series. Used on recordings and tours worldwide, LTD Deluxe guitars provide professional-level components and build quality.
“It’s easy to see why LTD Deluxe represents ESP’s most popular guitar series,” says Blue Wilding, ESP Brand Manager. “These are high grade instruments that allow serious working musicians to have the performance and aesthetics they want without wiping out their wallet.”
Three new LTD Deluxe guitars are being offered in an exciting Silver Blast finish. The LTD Deluxe XJ-1 Baritone uses the offset XJ shape, offering bolt-on construction at 27” baritone scale and pairing a sandblasted swamp ash body to a three-piece roasted maple neck. Design features of the XJ-1 Baritone include a tiltback reverse headstock, a Macassar ebony fingerboard with block inlays and 22 extra-jumbo stainless steel frets. It also includes LTD locking tuners, a black bone nut, a brushed black pickguard, a Hipshot hardtail bridge with string-thru-body, and a single Fishman Fluence Modern 3-Voice Humbucker pickup with voice selection via push/pull control.
The LTD Deluxe SN-1000HT is another new model in the Silver Blast finish on a sandblasted swamp ash body. Built with bolt-on construction at 25.5” scale, it pairs a roasted maple neck and Macassar ebony fingerboard (scalloped from frets 17-22) with a compound radius, mother of pearl dot inlays, and 22 extra- jumbo stainless steel frets. Components on the SN-1000HT include LTD locking tuners, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a pair of Fishman Fluence Modern 3-Voice Humbucker pickups (ceramic in the bridge, alnico in the neck), with voice selection via push/pull controls.
Rounding out the new Silver Blast models is the new LTD Deluxe TE-1000. Also featuring a sandblasted swamp ash body with roasted maple neck and tiltback headstock, this guitar offers bolt-on construction at 25.5” scale, and a Macassar ebony fingerboard with offset dot inlays and 24 extra-jumbo stainless steel frets. Components on the TE-1000 Silver Blast include LTD locking tuners, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and an outstanding set of Seymour Duncan pickups — the ESP- exclusive Custom-14 in the bridge, and the renowned APH-1N in the neck.
The TE Series got another new addition with the LTD Deluxe TE-1007 Baritone. This 7-string guitar, being offered in the Black Blast finish, has a sandblasted swamp ash body and roasted maple neck with a tiltback headstock. It has bolt-on construction at 27” baritone scale, and provides a Macassar ebony fingerboard with offset dot inlays and 24 extra-jumbo stainless steel frets. The TE-1007 Baritone has components that include a Hipshot hardtail bridge with string-thru-body, LTD locking tuners, a black bone nut, and a single Fishman Fluence Modern 7 String 3-Voice Humbucker (ceramic) in the bridge, with a push-pull control to activate its voicings.
The LTD Deluxe EC-01FT has been significantly updated for 2025. Now available in Charcoal Burst Satin Teardrop finish over a quilted maple top, the streamlined guitar also features white single-ply binding on the body, neck, and headstock. Like the previous versions of the EC-01FT, it offers set-thru construction at 24.75” scale with a single-cutaway mahogany body and three-piece mahogany neck. It includes a Macassar ebony fingerboard with block inlays and 22 extra-jumbo stainless steel frets, a recessed bridge with string-thru-body design, LTD locking tuners, a brushed black pickguard, and the ESP-exclusive Seymour Duncan Custom-14 High Output Triple Ceramic Humbucker, splittable with push-pull control.
Another new addition for 2025 is the LTD Deluxe M-1000 Maple. Offering the iconic look of a Black Gloss finish along with a maple fingerboard, this guitar offers an alder body and a three-piece maple neck built with bolt-on construction at 25.5” scale. Black binding on the neck and headstock give it an even tougher look. It features 24 extra-jumbo stainless steel frets, black offset dot inlays, and a compound fingerboard radius. Components on the new M-1000 Maple include a Floyd Rose 1000SE tremolo with stainless steel screws, Grover tuners, and a set of Fishman Fluence Modern 3-Voice Humbucker pickups — ceramic in the bridge, alnico in the neck position — with push-pull controls to activate their voicings.
Also new for 2025 is the LTD Deluxe M-1007 Baritone EverTune in Granite Sparkle finish. Designed for seriously extended low pitch ranges, it’s a 7-string guitar with neck-thru-body construction at 27” baritone scale, pairing an alder body with an extra-thin three-piece maple neck. Its Macassar ebony fingerboard features a compound radius, offset dot inlays and 24 extra-jumbo stainless steel frets. Components on this guitar include the innovative EverTune constant tension bridge, and a set of Fishman Fluence Modern 7 String 3-Voice Humbucker pickups with push-pull controls to select voicings.
A distinctive entry in the “New for 2025” collection, the LTD Deluxe MH-1000NT Bold Binding delivers what its name says: a Black Satin finish with double-thick silver painted binding on the body and headstock. It offers set-thru construction at 25.5” scale, using a mahogany body with maple cap, and a three-piece maple neck. Its Macassar ebony fingerboard has a compound radius, offset block inlays, and 24 extra-jumbo stainless steel frets. Components on the MH-1000NT Bold Binding include a TonePros locking bridge with string-thru-body, LTD locking tuners, and a pair of Fishman Fluence Modern 3-Voice Humbucker pickups with voice selection on a push-pull controls.
Two popular LTD Deluxe models are returning with significant updates. The LTD Deluxe SN-1 HT is now being offered with a Fishman Fluence Modern 3-Voice Humbucker (Ceramic) pickup, with voices selected via push-pull control. The LTD Deluxe Arrow-1000 in Candy Apple Red Satin now features a reverse headstock and a set of Fishman Fluence Modern 3-Voice Humbucker pickups, with voices selected via push-pull controls.
For more information, please visit espguitars.com.
Signature Series
The highly-anticipated Signature Series guitar for Mick Thomson of Slipknot, the LTD MT-I, makes its debut at NAMM 2025. Available in Obsidian Metallic finish, the MT-I is based on the MH-style body, with an arched top and an inline reverse headstock. This guitar features set-thru construction at 25.5” scale, pairing a mahogany body with white ash top to a three-piece maple neck with a Macassar ebony fingerboard with compound radius and 24 medium-jumbo stainless steel frets. Special features on the MT-I include a Graph Tech Black TUSQ XL nut, Hipshot Grip-Lock locking open gear tuners, an all-brass Hipshot Hi-Mass hardtail bridge, blue Luminlay side markers, and a Fishman Fluence Mick Thomson Signature pickup with a 3-way low profile toggle switch to select between Voice 1, Voice 1 with bass boost shift, and Voice 2, and a push/pull volume control to select Voice 3.
The LTD RZK-III is the newest signature model for Richard ZK of Rammstein. Beginning with the smooth flowing curves of the Phoenix body shape, the RZK-III comes in a classy Olympic White finish. It offers neck-thru-body construction at 25.5” scale, with alder body wings and a three-piece satin-finished maple neck with rosewood fingerboard. Features and components on the LTD RZK-III include a TonePros locking bridge and tailpiece that are both recessed, a brushed black pickguard, 22 extra-jumbo stainless steel frets, a reversible arcade-stye kill switch, and a set of Fishman Fluence Richard Z Kruspe signature pickups with a push-pull control to select voicings.
With the LTD JM-I, ESP is introducing its second Signature Series model for Josh Middleton, the acclaimed guitarist for Sylosis. Available with a Deep Blood Moon finish over a quilted maple top, the JM-I offers an alder body and a three-piece roasted maple neck with bolt-on construction at 25.5” scale. This guitar features black binding on the body and headstock, a Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets, Luminlay side markers, and a single Fishman Fluence Modern Humbucker, with voice selection on a push-pull control.
The new LTD ALR-II is the long-awaited Signature Series guitar for Andy LaRocque, influential guitarist/music producer and co-founder of the iconic heavy metal band King Diamond. Based on the Horizon body, the ALR-II offers neck-thru-body construction at 24.75” scale, and is distinctively finished in See Thru Purple over its figured quilted maple top with a classic teardrop headstock. It features a three-piece maple neck, a Macassar ebony fingerboard with a compound radius and 24 extra-jumbo stainless steel frets, Luminlay side markers, a Floyd Rose 1000 double-locking tremolo, and a set of Seymour Duncan TB-4 JB Trembucker (bridge) and STK-S6 Custom Stack Plus (neck) passive pickups.
Caleb Shomo, the founder, songwriter, and producer of rock band Beartooth, has his first Signature Series guitar with the debut of the LTD CS-II. Based on the Phoenix shape, the CS-II is available with a figured quilted maple top in Vintage Natural finish. This neck-thru-body guitar is offered at 25.5” scale, and comes with mahogany body wings, a three-piece thin u-shaped mahogany neck, Macassar ebony fingerboard, and 22 extra-jumbo stainless steel frets. Components on the CS-II include gold hardware, black binding on body, neck, head, brushed black pickguard, a black bone nut, a locking bridge and tailpiece, and a pickup set that includes ESP’s exclusive Seymour Duncan Custom 14 humbucker in the bridge (splittable with push-pull control) and a Seymour Duncan STR-3 Quarter Pound pickup in the neck.
A new Signature Series guitar has been announced for Alex Wade of deathcore band Whitechapel. The LTD AW-XJ7 Baritone EverTune provides the LTD XJ shape in a 7-string, 27” scale baritone guitar that also features the innovative EverTune constant tension bridge. Available in a Black Open Grain Satin finish, the AW-XJ7 Baritone EverTune offers bolt-on construction, a resonant swamp ash body, and a five-piece maple/walnut/padauk neck with a Macassar ebony fingerboard. This guitar’s features include 24 extra-jumbo stainless steel frets, a brushed black pickguard, LTD locking tuners, and a single DiMarzio D-Activator 7 passive pickup that can be split with a push/pull volume control.
A number of Signature Series guitar models for current ESP Signature artists have received fresh updates. Renowned guitarist Alex Skolnick of Testament has a new Lime Burst finish and new pickups for his LTD AS-1FR signature model. Based on the single-cutaway EC shape, this guitar features set-thru construction at 24.75” scale, a mahogany body with flamed maple top, three-piece maple neck, Macassar ebony fingerboard, a Floyd Rose 1000 double-locking tremolo, Dunlop Straploks, and a set of Seymour Duncan Alex Skolnick Signature Humbucker pickups, splittable with push-pull control.
50th Anniversary Series
From its humble beginnings in 1975 as a small Tokyo-based guitar repair shop to its current status as one of the world’s largest and most respected electric guitar and bass manufacturers, ESP Guitars (NAMM Booth 210D) has never been a brand to rest on its laurels. While celebrating its milestone 50th anniversary in 2025, the company is still far more focused on the future than looking back on its past.
To commemorate the major milestone, ESP has announced a special limited edition batch of guitars from the ESP Custom Shop in Japan. Just 15 pieces each of the ESP 50th Anniversary Horizon-CTM Flamed Maple and ESP 50th Anniversary Horizon-CTM Buckeye Burl are being handcrafted by the company’s expert luthiers using custom components and extraordinary tonewoods, and no two are identical.
A more widely available commemorative guitar is the LTD EC-2025 50th Anniversary. Based on the single-cutaway EC shape, it’s being offered in Metallic Gold finish with black hardware and black single-ply binding on the body, neck, ad headstock, appropriate for the company’s golden anniversary celebration. It features a special “50” graphic fingerboard inlay at frets 11-13, as well as a full 50th Anniversary logo on the guitar’s headstock. Built with set-thru construction at 24.75” scale, the guitar employs a mahogany body with maple cap, a three-piece mahogany neck, and a Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets.
Features on the EC-2025 include LTD locking tuners, a TonePros locking bridge and tailpiece, and a set of Seymour Duncan humbucker pickups that includes the ESP-exclusive Custom 14 in the bridge, and the iconic APH-1N in the neck. Coil splitting is accessible with a push-pull control.
200 Series
The LTD EC-256 is now being offered in a Silver Sunburst Teardrop finish. This single-cutaway guitar includes unexpected details like white binding on the body, neck, and headstock. Built with set-neck construction at 24.75” scale using a mahogany body and three-piece mahogany neck, it also features a set of great-sounding, high-output ESP LH-150 bridge and neck pickups, splittable via push-pull control. The popular LTD EC-201 has also been updated to offer a Black Gloss finish.
The LTD M-201 Baritone HT offers an affordable solution for musicians getting into baritone guitar. Offered in Black Gloss finish, it’s built with bolt-on construction at 27” baritone scale, pairing a mahogany body and three-piece maple neck with a rosewood fingerboard. This guitar features an LTD fixed hardtail bridge with string-thru-body, and a single ESP LH-150B bridge pickup with an antique nickel cover, with coil splitting via push-pull control.
Another new model in this series is the LTD Phoenix-201, the first Phoenix model in this range. It offers set-neck construction at 25.5” scale with a mahogany body and three-piece mahogany neck with rosewood fingerboard. It also includes a single ESP LH-150B bridge pickup with an antique nickel cover, and coil splitting via push-pull control.
It’s a similar story with the LTD SN-201HT, a new model in this affordable range. Available in Black Gloss, it offers bolt-on construction at 25.5” scale, with a mahogany body and three-piece maple neck with tiltback headstock. It also includes a single ESP LH-150B bridge pickup with an antique nickel cover, and coil splitting via push-pull control. The LTD TE-201 is also now offered in Black Gloss finish.
For more information, please visit espguitars.com.
- ESP Guitars and Alex Skolnick Announce Signature Model ›
- ESP Guitars Factory Tour ›
- ESP Guitars Announces the Cult '86 ›
Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
“I’ve always been a Gibson guy—I got hooked on that sound as a teenager and have been playing them ever since,” says Warren Haynes. “Needless to say, I’m honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, I’m really loving the hum-free P-90s. It’s a really cool tonal change, and the boost offers even more tonal options. I’m really enjoying playing this guitar on stage and looking forward to using it in the studio. I’m equally psyched that other guitar players will now have the opportunity to own and play one as well.”
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Gov’t Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of music’s most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described “Gibson man,” Warren has used several Gibson models throughout the years, including his cherished ’61 ES-335™, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warren’s preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warren’s favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful “Day Of Reckoning.” Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is “Real Real Love,” a song initially co-written with Gregg Allman that Warren finished in Allman’s style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things better—in love, in life, in the world—led by Haynes’s soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with “These Changes,” a co-write with Trucks, leading into “Go Down Swinging,” co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, there’s the soulful power ballad “Till The Sun Comes Shining Through,” driven by Warren’s impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single “This Life As We Know It,” which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition “Back Where I Started” featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic “Find The Cost Of Freedom” into an extended version of “Day Of Reckoning.” Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson Warren Haynes Les Paul Standard Electric Guitar - '60s Cherry
