
How the Bend, Oregon, builders create slimmed-down instruments that have full-bodied sound—blending modern acoustic science with traditional craftsmanship.
While thinline acoustic guitars have been on the scene for some time, they’ve typically required a compromise between ergonomic comfort and a full-depth instrument’s warm, rich sound. Eliminating this compromise was core to the vision behind Breedlove’s new thinline guitar body shape. Our goal was to create an acoustic guitar body nearly an entire inch shallower, while retaining the full-depth tone and response guitarists expect from a Breedlove.
The story behind this modern guitar advancement combines our passion for art and acoustic innovation. It was an exercise in thoughtfully melding the application of our proprietary Sound Optimization technology with astute craftsmanship and, like any worthwhile pursuit, a lot of time, trial, and error.
Let’s dive into the technology-driven R&D process and explain the tonal benefits of our Sound Optimization process. We also encourage you to pick up one of these Breedlove Thinlines yourself to hear how the thin, ultra-light body responds to the room, coming alive in your hands. Tuck it close and give it a strum.
But first, let’s start with the advantage a thinline body offers: comfort. Thinline guitars have a shallower depth than standard body shapes. You can tuck them in close to your own body and feel more engaged with the strings. The lack of bulk and heft are also fantastic for smaller players fatigued by larger-bodied acoustics. Ultimately, you feel more connected when playing a thinline.
Breedlove craftsman Ian Cook explains, “Bringing a thinline guitar in tight is an intimate feeling that connects you with the instrument. When you can combine that with playing comfort and inspiring full-depth-like tone, you’re experiencing something special.”
MEET YOUR MAKERS: Breedlove Guitar's Ian Cook
Breedlove builder Ian Cook explains the company’s Sound Optimization process—a mix of scientific assessment and hands-on craftsmanship.
In the Beginning
Here’s how we made a guitar body thinner and maintained the desired sound. We knew we wanted to use our Concert body shape as the platform for this new design. We had already engineered it for optimal ergonomics and tonal balance. We just had to figure out how to slim it down while keeping everything, sonically, that makes it a Breedlove favorite.
First, we tested quite a few body depths to find the perfect starting point. We also had to achieve the ideal taper from the sound box’s heel block to the tail block on the lower bout. This was much more complicated than slicing inches off the body. Then came the really hard part.
Crafting the Tone
So much of an acoustic guitar’s tone comes from its size. The bigger the body, the more air that can move inside the soundbox, producing the big, billowing low end we all love. In the past, if you thinned a guitar down, you lost that tone.
Though nearly an inch thinner than our standard Concert, the Breedlove Thinline body achieves its full-size tone via specialized bracing that we fine-tuned through our Sound Optimization process. If this is the first time you’ve heard of Breedlove Sound Optimization, click this link to learn more about it. Then, watch the video below to see the process for yourself.
Breedlove Sound Optimization
See how much of Breedlove’s Sound Optimization process is based on embracing the nature of wood. Not every potential top or back makes the grade.
We built countless prototypes, fine-tuning each one until our designers and builders cracked the code, creating an acoustic guitar with the ergonomics and intimacy of a thinline body and the voice of a full-depth instrument—all of the benefits, none of the compromises.
Sounds too good to be true? Breedlove Wood Management and Product Development Manager Angela Christensen thought so, too. “The results even surprised us,” she says. “If you couldn’t see the guitar that was being played, you would never guess it had such a thin profile!”
These new guitars come in three distinctly different models, now playable at your local Breedlove dealer’s shop. Here’s a look at each one.
Premier Concert Thinline Edgeburst CE
The first Thinline in our Made in Bend Premier Series is the Premier Concert Thinline Edgeburst CE. This slimmed-down acoustic brings together solid redwood and rosewood without losing any of those woods’ articulation or bell-like projection. It also retains the Concert’s signature low-end warmth. Through Sound Optimization, we fine-tune each piece of these tonewoods for optimal frequency response, creating a guitar that sounds as captivating as it is comfortable to play.
Breedlove Premier Concert Thinline Edgeburst CE Acoustic Guitar
This articulate redwood and rosewood instrument is hand-voiced and entirely handmade in our Custom Shop, to achieve ultimate comfort and tone.
Oregon Series Concert Thinline Stormy Night
Also handcrafted in Bend, the Breedlove Oregon Concert CE in our Stormy Night finish showcases myrtlewood’s unparalleled beauty. The tonewood and Thinline Concert body shape deliver a balanced, detailed voice with a rich resonance equally suited for strumming and nuanced fingerstyle, even when plugged in via its onboard L.R. Baggs electronics.
OREGON CONCERT THINLINE STORMY NIGHT MYRTLEWOOD ACOUSTIC GUITAR
Crafted with full sustainable Oregon myrtlewood, this instrument has a finish inspired by a desert storm over an Arizona night sky—as visually striking as it is inspiring to play.
Performer Pro Performer Thinline
The Organic Pro Performer Thinline is our production thinline acoustic guitar. Although it was initially designed to accommodate players preferring a smaller instrument, we quickly realized that no one in the shop wanted to put the guitar down. It’s just so comfortable! With a solid European spruce top and solid Indian rosewood or African mahogany back and sides, this no-compromise guitar gives an intimate and ergonomic feel to a classic look and sound.
Add in Fishman Flex Plus-T electronics, and you have a pro-level, stage-ready acoustic-electric guitar you’ll want to play for hours on end. For more information on all of Breedlove’s handcrafted acoustic guitars, visit breedlovemusic.com.
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
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.
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.