
The Howard Roberts signature, originally an Epiphone like this one, was built by Japanese guitar-makers throughout the ’70s lawsuit era before being reintroduced by Epiphone in the ’90s.
This acoustic-electric, built for the jazz-fusion guitarist, was varied in both specs and brand names throughout the late 20th century.
My last installment of Vintage Vault, in the April 2024 issue, highlighted the signature guitars of Johnny Smith, a 20th-century jazz legend whose eye for detail resulted in the creation of a premium electric archtop for the ages. Here, we turn our eyes to what could be that guitar’s stranger cousin: an odd merging of acoustic and electric design built for jazz-fusion guitarist Howard Roberts.
Now, if you find yourself asking, “What made these guitars so strange?,” you need only look at the pictures, for a start. It’s an archtop electric with an oval soundhole smack in the middle of the soundboard. But the model contains other interesting twists and turns of guitar history, as it was conceived as an Epiphone, continued as a Gibson, and was widely copied by Japanese brands during the so-called lawsuit era. And it began its life, oddly enough, as a very different guitar.
Roberts first gained fame within the jazz-playing world in Los Angeles, picking up session work in the 1950s before making his first records as a leader in the early ’60s. It was around this time that he connected with designer Andy Nelson at Chicago Musical Instruments Co. (CMI)—which had recently acquired both Epiphone and Gibson—to sketch out what might’ve been Roberts’ first signature guitar.
This 1967 Epiphone Howard Roberst signature would’ve been available for about $455 in its year of release.
Photos courtesy of Reverb and Garrett Park Guitars
The initial ideas were unique. It was to be built in the manner of Epiphone’s single-cutaway Triumph, a 17 3/8"-wide acoustic jazzbox that some players had taken to modifying with a floating neck pickup. Nelson and Roberts’ plan was to instead place a humbucker right into the body. This pickup, Nelson wrote, “must be sealed in black epoxy resin” to prevent feedback and help give a unique appearance, as it would double as a frame.
Reportedly, the guitar was simply too unique to be built, requiring new tooling that CMI didn’t want to invest in. However, the L-4 machinery was, at the time, sitting idle, so the thought went, why not create a Howard Roberts signature with the available tools?
“It gave him the warmth of the early acoustic archtops he was after, with the electric versatility that was all but obligatory in Roberts’ own era of music.”
The result, in 1964, was the first Epiphone Howard Roberts, an altogether different guitar, whose oval soundhole harkened back to the 1920s L-4s of old. It carried the sharp, Florentine cut of then-recent ’50s models, and a floating mini-humbucker in place of Nelson and Roberts’ embedded-and-epoxied dreams. (Unlike the Johnny Smith models, Roberts’ volume and tone pots were affixed to the body.)
Available first as a standard-production model, the Howard Roberts had a carved spruce top, a 16 1/4" lower-bout width, a nickel tailpiece with three raised parallelograms for some added flair, a rosewood bridge and fretboard, and tasteful block inlays up the neck. (The Vintage Vault find here is an all-original Epi Howard Roberts from 1967.) In 1965, the Howard Roberts Custom swapped in a Tune-o-matic bridge, ebony fretboard, and vine peghead inlay in place of the standard’s vertical oval.
The model features just one volume and one tone knob, a Tune-o-matic bridge, and ebony fretboard.
Photos courtesy of Reverb and Garrett Park Guitars
Neither model (nor, for that matter, the pickup-free acoustic variants) sold particularly well at the time. Epiphone built an estimated 350 or so before ending its production in 1970, when the company’s manufacturing moved overseas.
But that didn’t stop Roberts from enjoying the guitar. It gave him the warmth of the early acoustic archtops he was after, with the electric versatility that was all but obligatory in Roberts’ own era of music. And the slow sales from Epiphone didn’t dissuade Gibson from relaunching the guitar in many forms, starting with the Gibson Howard Roberts Custom in 1974. The wine-red prototype of this Gibson model turned into a favorite of Roberts’, who used it extensively from ’73 until his death in 1992.
In its third and fourth acts of life, the oval-soundhole Howard Roberts was built by Japanese guitar-makers under a spate of brand names—Ibanez, Hoyer, Greco, Goya—throughout the ’70s and finally reintroduced under the Epiphone brand in the ’90s.
Given the oddball nature of the guitar, you can find vintage models for a relative steal. The 1967 pictured here would’ve been available for about $455 upon release, but is on offer from Reverb seller Garrett Park Guitars now for $5,000, just a bit higher than Gibson models that have sold for around $3,000 in recent years.
Sources: Reverb listings and Price Guide data, Epiphone 1966 catalog, Gruhn’s Guide to Vintage Guitarsby George Gruhn and Walter Carter, American Guitars: An Illustrated History by Tom Wheeler, “Howard Roberts: H.R. Was a Dirty Guitar Player!” by Jim Carlton for Vintage Guitar, “Howard Roberts’ Personal Guitars” by University of Toronto’s Mike Evans.
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Sleep Token announces their Even In Arcadia Tour, hitting 17 cities across the U.S. this fall. The tour, promoted by AEG Presents, will be their only headline tour of 2025.
Sleep Token returns with Even In Arcadia, their fourth offering and first under RCA Records, set to release on May 9th. This new chapter follows Take Me Back To Eden and continues the unfolding journey, where Sleep Token further intertwines the boundaries of sound and emotion, dissolving into something otherworldly.
As this next chapter commences, the band has unveiled their return to the U.S. with the Even In Arcadia Tour, with stops across 17 cities this fall. Promoted by AEG Presents, the Even In Arcadia Tour will be Sleep Token’s only 2025 headline tour and exclusive to the U.S. All dates are below. Tickets go on sale to the general public on Friday, March 21st at 10 a.m. local time here. Sleep Token will also appear at the Louder Than Life festival on Friday, September 19th.
Sleep Token wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster's Face Value Exchange. If fans purchase tickets for a show and can't attend, they'll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Sleep Token has requested all tickets be mobile only and restricted from transfer.
*New York, Illinois, Colorado, and Utah have passed state laws requiring unlimited ticket resale and limiting artists' ability to determine how their tickets are resold. To adhere to local law, tickets in this state will not be restricted from transfer but the artist encourages fans who cannot attend to sell their tickets at the original price paid on Ticketmaster.
For more information, please visit sleep-token.com.
Even In Arcadia Tour Dates:
- September 16, 2025 - Duluth, GA - Gas South Arena
- September 17, 2025 - Orlando, FL - Kia Center
- September 19, 2025 - Louisville, KY - Louder Than Life (Festival)
- September 20, 2025 – Greensboro, NC - First Horizon Coliseum
- September 22, 2025 - Brooklyn, NY - Barclays Center
- September 23, 2025 - Worcester, MA - DCU Center
- September 24, 2025 - Philadelphia, PA - Wells Fargo Center
- September 26, 2025 - Detroit, MI - Little Caesars Arena
- September 27, 2025 - Cleveland, OH - Rocket Arena
- September 28, 2025 - Rosemont, IL - Allstate Arena
- September 30, 2025 - Lincoln, NE - Pinnacle Bank Arena
- October 1, 2025 - Minneapolis, MN - Target Center
- October 3, 2025 - Denver, CO - Ball Arena
- October 5, 2025 - West Valley City, UT - Maverik Center
- October 7, 2025 - Tacoma, WA - Tacoma Dome
- October 8, 2025 - Portland, OR - Moda Center
- October 10, 2025 - Oakland, CA - Oakland Arena
- October 11, 2025 - Los Angeles, CA - Crypto.com Arena
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino Forté HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantino’s signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware that’s optimally tuned for the HP Ultra’s power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If you’ve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and more—all in a 6.9 lb., 2ru (8” depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forte’ HP2X’s leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultra’s power focus is not about playing louder...it’s about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz – user selectable● Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS – Universal power supply 115VAC – 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25”W x 8.375”D x 3.75”H
- Street Price: $1895.00
For more information, please visit bergantino.com
The NEW Bergantino Forté HP ULTRA!!! - YouTube
When you imagine the tools of a guitar shredder, chances are you see a sharp-angled electric 6-string running into a smokin’-hot, fully saturated British halfstack of sorts—the type of thing that’ll blow your hair back. You might not be picturing an acoustic steel-string or a banjo, and that’s a mistake, because some of the most face-melting players to walk this earth work unplugged—like Molly Tuttle.
The 31-year old Californian bluegrass and folk artist has been performing live for roughly 20 years, following in a deep family tradition of roots-music players. Tuttle studied at Berklee College of Music, and has gone on to collaborate with some of the biggest names in bluegrass and folk, including Béla Fleck, Billy Strings, Buddy Miller, Sierra Hull, and Old Crow Medicine Show. Her 2023 record, City of Gold, won the Grammy for Best Bluegrass Album.
The furious flatpicking solo on “San Joaquin,” off of that Grammy-winning record, is the subject of this unplugged episode of Shred With Shifty. Shiflett can shred on electric alright, but how does he hold up running leads on acoustic? It’s a whole different ballgame. Thankfully, Tuttle is on hand, equipped with a Pre-War Guitars Co. 6-string, to demystify the techniques and gear that let her tear up the fretboard.
Tune in to hear plenty of insider knowledge on how to amplify and EQ acoustics, what instruments can stand in for percussion in bluegrass groups, and how to improvise in bluegrass music.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Featuring a 25.5" scale length, mahogany body, gold hardware, and 490R/498T pickups. Stand out with the unique design and comfortable playing experience of the Gibson RD Custom.
Initially released in 1977, the Gibson RD model has been a cult classic for years. It is famous for its unique appearance, which takes inspiration from both the Gibson Explorer and Firebird designs, as well as its functionality and use by several popular guitarists across multiple genres.
Now, the iconic RD Custom joins the Gibson Custom core lineup for the first time. Not only is this the first Custom Shop-built RD model, but it is also the first 25.5” scale length solidbody core model offered by Gibson Custom. Complete with the classic and comfortable RD body shape, including a rear tummy cut for extra comfort, this model also features a mahogany body with multi-ply top binding, Gibson Custom aesthetics, including gold hardware and mother-of-pearl block inlays on the neck, and a mother-of-pearl Custom split diamond headstock inlay. The RD Custom also has a 25.5” scale mahogany neck with a Medium C profile and long neck tenon, a bound ebony fretboard with 22 medium jumbo frets, and a bound headstock with Grover Rotomatic tuners. The updated electronics include 490R and 498T pickups, CTS potentiometers, and a hand-wired harness.
The Gibson RD Custom is designed to help players stand out from the crowd with its longer scale length, curvaceously elegant body, and classic design. Now is your opportunity to experience the unique and comfortable playing experience of the cult-favorite Gibson RD Custom for yourself. A Custom Shop hardshell case is also included.
For more information, please visit gibson.com.