Introducing the Jimmy Page 1964 SJ-200 and 1964 SJ-200 Collector’s Edition from Gibson.
Made in close collaboration and with significant input from Jimmy Page, only 50 of the 1964 SJ-200 Collector’s Edition and 100 of the Jimmy Page 1964 SJ-200 will be available worldwide in this extraordinary limited run via authorized Gibson dealers and online at Gibson.com.
Jimmy Page SJ-200
Jimmy Page 1964 SJ-200 from Gibson Custom.
This special recreation features highly flamed AAA maple for the back and sides, along with AAA Sitka spruce for the top. The Super Jumbo body has multi-ply binding on the top and back and is slightly deeper than a standard SJ-200 at the neck joint, contributing to its unique sound.
The highly-figured maple motif continues with the 3-piece highly flamed maple neck, which features a comfortable Round profile, a bound rosewood fretboard with 20 standard frets, and mother-of-pearl Graduated Crown inlays. The 60s-style, solid rosewood Moustache bridge plate is also adorned with 60s-style mother-of-pearl hourglass and teardrop inlays and is equipped with a gold Tune-O-Matic bridge with nylon saddles, which also contributes to the unique sound ofthis beautiful Artist model. The bound headstock has gold Kluson Waffleback tuners with Keystone buttons that add to the guitar’s vintage appeal, and Jimmy Page has personally hand-signed the soundhole label of each Jimmy Page 1964 SJ-200 guitar.
Jimmy Page SJ-200 Collector's Edition
Jimmy Page 1964 SJ-200 Collector’s Edition from Gibson Custom.
The Gibson Custom Shop’s famed Murphy Lab artfully used their light aging techniques customized for this specific model to aid in recreating the original guitar honoring both the guitar and the legendary guitarist who made it famous, Jimmy Page. Jimmy Page has personally hand-signed the rear of the headstock of each Jimmy Page 1964SJ-200 Collector’s Edition guitar, which has been made in close collaboration and with significant input from Jimmy Page on everything from the sonic character and wear to the playability and even the vivid Cherry Tea sunburst finish.
This very special recreation features highly flamedAAA maple for the back and sides, along with AAA Sitka spruce for the top. The Super Jumbo body has multi-ply binding on the top and back and is slightly deeper than a standard SJ-200at the neck joint, contributing to its unique sound that’s not quite like any other SJ-200.The stunning, highly-figured maple motif continues with the 3-piece highly flamed maple neck, which features a comfortable Round profile, a bound rosewood fretboard with 20 standard frets, and mother-of-pearl Graduated Crown inlays. The 60s-style, solid rosewood Moustache bridgeplate is also adorned with 60s-style mother-of-pearl hourglass and teardrop inlays and is equipped with a gold Tune-O-Matic bridge with nylon saddles, which also contributes to the unique sound of this Collector’s Edition model. The bound headstock has gold Kluson Waffleback tuners with Keystone buttons that add to the guitar’s vintage appeal.
Explore more at Gibson.com.
From a young age, Derek Trucks was destined for guitar greatness. Growing up around the Allman Brothers scene, he had the greatest schooling any aspiring slide player could hope for. But his playing exceeded just about any expectations, high though they were, as he brought in a vast range of influences and ambition and cemented himself as one of the guitarists you need to know.
On this episode of 100 Guitarists, we’re joined by another one of the guitarists we think you need to know, Wilco guitarist and 6-string afficionado Nels Cline, who tells us about joining Trucks onstage in a number settings, and details how the two have developed a guitar playing relationship over the years.
This episode is sponsored by Sweetwater.
While digital audio workstations (DAWs) have revolutionized music production, offering unparalleled editing and flexibility, many producers, including me, still mix back into an analog console for the sonic character and three-dimensionality that it imparts. But buying a professional console isn’t cheap! This is where console summing boxes come into play, offering a unique way to enhance your mixes and elevate them to a professional level.
How Does It Work?
Very simply put, recording consoles have two basic sections: an input section (all the channels of mic pres, and EQ) and a center section (that sums all of the channels together and routes those signals to various configurable outputs such as inserts and aux buses). A console summing mixer is essentially the center section of a console and is designed to sum the individual audio channels, aux buses, stems, and submixes from your DAW in an analog domain.
In a DAW, digital summing—the process of combining multiple tracks and buses into a stereo mix—is handled through complex binary algorithms that, while precise, can sometimes lead to a mix that feels lifeless and one-dimensional, lacking the warmth, depth, and cohesion that analog consoles impart.
One of the most significant advantages of using a summing box is the introduction of harmonic distortion, a natural byproduct of analog circuitry. This isn’t like amp or pedal distortion, but rather a subtle harmonic saturation that adds richness and character to the sound. Low-end frequencies gain girth and definition, while high frequencies have a smooth, silky quality. You can achieve natural compression through subtle variations in phase and amplitude, but that depends on how hard you push the summing mixer box.
But the best benefit, in my opinion, is its ability to produce an undeniably open stereo image. Digital summing, while accurate, often lacks dimension or a sense of space. Analog summing introduces subtle variations in phase and amplitude, creating a sense of width and depth that makes each instrument feel like it occupies its own space in a more 3-D stereo field, which results in a more engaging and polished mix. I’ve also found summing boxes encourage a more deliberate and thoughtful approach to mixing, as it requires submixing certain elements.
API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more.
For those who work “in-the-box” and aren’t in the market for a summing box, let alone a console, incorporating a summing box can also serve as a valuable learning tool. By running stems through a summing box and comparing the results to an entirely digital mix, you can train your ear to recognize the subtle qualities that make a mix feel warm, cohesive, spatial, and dynamic. This heightened awareness can then inform your in-the-box mixing decisions, even when you’re not using a summing box.
“Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger."
It’s important to choose the right summing box for your needs and budget, as different models offer varying sonic characteristics. Good summing mixers typically start around $2,000, such as Rupert Neve Design’s 5057 Orbit Summing Mixer. While more expensive, API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more. The key here is to understand your needs.
Pairing a summing box with high-quality outboard processors, such as compressors or EQs, will allow you to shape your mix in ways that are impossible within a purely digital setup.
Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger. For anyone serious about mixing, it’s a tool worth considering—one that can make the difference between a mix that’s good and one that’s truly exceptional. Until next month, namaste
