Made in close collaboration with Slash and the expert luthiers of the Gibson Custom Shop in Nashville, Tennessee and artfully aged by the Murphy Lab to match the original guitar, only 50 of these Collector’s Edition hand-signed guitars will be available exclusively via the Gibson Garage Nashville, alongside an exclusive VIP live performance at the Gibson Garage with the artist this summer. For more details, call the Gibson Garage Nashville (615) 933-6000.
“I used a beautiful and killer sounding 1963 ES-335 Gibson for more than a few songs on Orgy of the Damned,” says SLASH. “Gibson has now built a fantastic replica of this extraordinary guitar. Same dot neck, Bigsby tremolo, and finish. You have to check it out.”
Slash’s original ES-335 is a super clean example from 1963 which proved inspirational when recording his latest solo record, the star-studded blues album Orgy of the Damned, out May 17 on Gibson Records. In celebration of the release of Orgy of the Damned, buyers of the Collector’s Edition SLASH 1963 ES-335 will receive a rare assembly of case candy that includes a hand-signed copy of SLASH’s new album, Orgy of the Damned, a signed copy of the The Collection: Slash coffee table book, and a Certificate of Authenticity. In addition, buyers will be invited to attend a once-in-a-lifetime exclusive VIP experience at the Gibson Garage Nashville, where SLASH and his blues band will treat fans to an intimate live performance and signing event.
Photo by Gibson
For each Slash ES-335 purchase, buyers will receive two (2) tickets to attend an “Evening with Slash & Friends in Nashville, Tennessee” on June 30, 2024. This special evening at the Gibson Garage Nashville includes a live performance with SLASH and his blues band, as well as an intimate, moderated interview with SLASH and Mark Agnesi, Gibson’s Director of Brand Experience, a photo opportunity, receipt of the Slash 1963 ES-335 Collector’s Edition guitar from Gibson Custom, a copy of the new Orgy of the Damned album, and a The Collection: Slash coffee table book, all signed by SLASH. Food and Beverage for the event will be provided onsite.
*Travel expenses for the event are not included, and no cash value has been assigned to the Experience and no exchanges or refunds will be offered or given for those unable to attend the Experience.
Photo by Gibson
Slash announced he will officially release his sixth solo album, a star-studded blues record titled Orgy of the Damned, on May 17, 2024, via Gibson Records (Firebird Music distribution). A collection of 12 dynamic songs that revitalize blues classics, on Orgy of the Damned SLASH reteamed with storied producer Mike Clink and enlisted the album’s diverse guest vocalists, which include Gary Clark Jr., Billy F. Gibbons, Chris Stapleton, Dorothy, Iggy Pop, Paul Rodgers, Demi Lovato, Brian Johnson, Tash Neal, Chris Robinson, and Beth Hart. Rounding out his blues band in the studio and on the road, SLASH reunited with two of his bandmates from his Blues Ball outfit in the 90s, bassist Johnny Griparic and keyboardist Teddy ‘ZigZag’ Andreadis, and brought on drummer Michael Jerome and singer/guitarist Tash Neal.
For more information, please visit gibson.com.
“While you can still get all the same beloved Epiphone instruments at the same affordable price points, the new Epiphone Inspired by Gibson Custom line appeals to those who want the historic and premium specs that our Custom Shop fans love. I am proud to say that this new line of instruments represents a true collaboration of our USA teams and our overseas teams in every sense. Collectively, we made sure every possible upgrade was included so that these would become the new crown jewels of our Epiphone range.”
--Mat Koehler, Vice President of Product at Gibson
1959 Les Paul Standard
Made in collaboration with Gibson Custom, the Epiphone 1959 Les Paul Standard is Epiphone’s incredible recreation of the rare vintage classic, updated to be more authentic and truer to the originals than ever. It features a mahogany body with a maple top with a AAA flame maple veneer, a one-piece mahogany Gibson Custom LP Custom Profile neck with a comfortable ’59 rounded, medium C profile, long neck tenon, and Gibson-style “open book” R9 headstock shape, VOS (Vintage Original Sheen) finish, USA Gibson Custombucker humbucking pickups, Switchcraft pickup selector switch and 1/4” output jack, CTS pots, 50s era wiring, Mallory™ capacitors, non-beveled pickguard, Epiphone Deluxe vintage tuners with Keystone buttons, and a vintage-style brown and pink hardshell case. The Epiphone 1959Les Paul™ Standard is available in a Factory Burst, Tobacco Burst, and Iced Tea Burst finishes. Play one today and prepare to be amazed!
1942 Banner J-45
Epiphone, in partnership with Gibson acoustic in Bozeman, Montana, is proud to introduce the Epiphone 1942 Banner J-45™, an incredible recreation of the legendary original “Workhorse” model from 1942. This exceptional acoustic guitar has a thermally aged, solid red spruce top, solid mahogany back and sides, and a one-piece mahogany neck with a laurel fretboard, a V-shaped profile, and mother-of-pearl dot inlays. The headstock features the world-famous Gibson “open book” profile, the Inspired by Gibson Custom double diamond logo etched on the back, and an“ Epiphone Inspired by Gibson” banner on the front. It is stage and studio-ready with the built-in L.R.Baggs™ VTC preamp and under-saddle piezo pickup system and a hardshell case with the Inspired by Gibson Custom logo is also included. The Epiphone 1942 Banner J-45 is available worldwide in Antique Natural and Vintage Sunburst.
Les Paul Custom
As part of the ongoing collaboration with Gibson Custom, Epiphone is proud to introduce the flagship Les Paul Custom to the Inspired by Gibson Custom lineup. Replete with all of the classy “tuxedo” appointments that the model is known for, this beautiful guitar has a one-piece mahogany Custom Shop LP Custom Profile neck with a 50s Rounded C profile, an ebony fretboard, and mother-of-pearl block fretboard inlays. There are also mother-of-pearl split diamond and Epiphone logo headstock inlays on the Gibson-style “open book” headstock. Gold hardware, including Grover® Rotomatic® 18:1 gear ratio tuners, gives it even more visual appeal. The solid mahogany body has a maple cap for a touch of added sonic bite, while the Gibson USA 490R and 498T pickups provide tonal sophistication and plenty of muscle to back up all the beauty. They’re hand-wired to CTS® potentiometers, a Switchcraft output jack and pickup selector switch, and Mallory™ capacitors. The Epiphone Les Paul Custom is available worldwide in Ebony and Alpine White finishes. An Inspired by Gibson Custom double diamond logo is on the back of the headstock, and a black hardshell case with the Inspired by GibsonCustom logo and a goldenrod interior is also included.
1959 ES-335
In partnership with Gibson Custom, Epiphone is proud to release the 1959 ES-355, a stunning recreation of the preeminent ES model from the legendary class of 1959. It’s the top-of-the-line ES model in all its glory, from the dimensions to the contours to the precise inlay patterns and sonic experience. The 1959 ES-355 features a 5-ply layered maple/poplar body with a solid maple centerblock for sustain and feedback resistance, a one-piece mahogany neck with a 50s RoundedMedium C profile, and an ebony fretboard that is adorned with block mother of pearl inlays. The Gibson-style “open book” headstock features the Split Diamond and Epiphone logo inlays in mother of pearl, along with gold Grover Rotomatic tuners and the Inspired by Gibson double diamond logo etched on the back. The 1959 ES-355 is powered by a pair of USA GibsonCustombuckers that are hand-wired to CTS potentiometers, Mallory capacitors, and a Switchcraft pickup selector switch and output jack. The Epiphone 1959 ES-355 is available worldwide in Cherry Red and Classic White, and an exclusive Ebony finish is available on www.epiphone.com. A brown and pink hardshell case with the Inspired by Gibson Custom logo is also included.
J-180 LS
The Gibson J-180 has been the choice of rock, country, and pop royalty, including legendary artists like the Everly Brothers, Cat Stevens, Dwight Yoakam, and Billie Joe Armstrong, up to some of today’s most famous artists. In partnership with Gibson Acoustic in Bozeman, Montana, Epiphone is proud to release a new version of this player-favorite guitar. The Epiphone J-180LS is packed with premium features, including a thermally aged solid spruce top with scalloped X bracing, solid mahogany back and sides, a one-piece mahogany neck with a 25.5” scale length, C-profile, laurel fretboard, and the iconic “star” mother of pearl inlays that the model is so well known for. The compensated saddle, bridge pins, and nut are bone, and the headstock features the world-famous Gibson-style “open book” headstock shape, with the Epiphone logo and headstock star proudly displayed in mother of pearl. An Inspired by Gibson CustomDouble Diamond emblem is etched on the rear of the headstock. Available in a variety of eye-catching colors and equipped with an L.R. Baggs™ VTC under-saddle pickup and preamp system, this exceptional guitar is stage and studio-ready from the moment you take it out of the included hardshell case. The Epiphone J-180 LS is available worldwide in Ebony, Pink, and Frost Blue. Exclusive colors, available only on www.epiphone.com, include Kerry Green and Lavender.
1957 SJ-200
The world-famous SJ-200 is known as the “King of the Flat-Tops,” and it’s been the choice of countless legends, from singing cowboys to country, folk, and rock icons, right up to some of today’s most popular artists. Now Epiphone, in partnership with Gibson Acoustic in Bozeman, Montana, is proud to release the 1957 SJ-200. This impressive guitar features a thermally aged solid Sitka spruce top supported by scalloped X-bracing, solid figured maple back and sides, and a flame maple neck with a C-profile, laurel fretboard, and graduated crown mother of pearl inlays. The headstock has the Gibson “open book” shape, along with a mother-of-pearl crown and Epiphone logo inlays, and the Inspired by Gibson Custom double diamond logo etched into the back. The iconic J-200 open moustache bridge and engraved pickguard are also present, along with a compensated bone saddle, bone nut, and bone bridge pins. It even comes equipped with an L.R. Baggs VTC preamp and under saddle pickup, so it’s ready to rock onstage or in the studio as soon as you take it out of the included Inspired by Gibson Custom hardshell case. The Epiphone 1957 SJ-200 is available worldwide in Antique Natural and Vintage Sunburst.
1963 Les Paul SG Custom With Maestro Vibrola
Made in collaboration with Gibson Custom, the Epiphone 1963 Les Paul SG With MaestroVibrola is a stunning recreation of the classic vintage model. 1963 was the last year that the “LesPaul” moniker was used on the SG Custom and the first year for the Maestro™ Vibrola™. The premium appointments the model is known and loved for are all present here, including a one-piece mahogany Gibson Custom LP Custom Profile neck with a long neck tenon, a SlimTaperprofile, and a bound ebony fretboard. It also features mother-of-pearl block fretboard inlays and a Custom split diamond headstock inlay on the bound Gibson-style “open book” headstock. The electronics are equally impressive, with three USA Gibson Custombucker humbucking pickups hand-wired to CTS potentiometers, Mallory capacitors, and a Switchcraft pickup selector toggle switch and output jack. The VOS (Vintage Original Sheen) Classic White finish is nicely complimented by the gold hardware, including 18:1 ratio Grover Rotomatic tuners. A black hardshell case with Inspired by Gibson Custom graphics and a goldenrod interior is also included.
1963 Firebird I
Epiphone and Gibson Custom have teamed up again to create the Inspired by Gibson Custom1963 Firebird I – an authentic replica of the guitar designed by legendary automotive designer RayDietrich. When it was launched in 1963, the Firebird was Gibson’s first neck-through-body model, and it went on to be used by players in a wide range of genres, including blues legendJohnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and PhilManzanera of Roxy Music, to name a few.
The Epiphone Inspired by Gibson Custom 1963 Firebird I delivers vintage Firebirdspecifications at an accessible price, including a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side. Kluson® planetary geared “banjo” tuners anchor the strings at the headstock, while a Wraparound Lightning Bar bridge holds things down at the other end and ensures exceptional sustain. While in keeping with the vintage 1963 Firebird I’s stripped-down specifications, the electronics are also premium and include a Gibson USA Firebird mini humbucker™ pickup with Alnico 5 magnets, CTS potentiometers, a Mallory capacitor, and a Switchcraft 1/4” output jack, giving this remarkable recreation not only the look but the sound of a classic Firebird I. The Epiphone Firebird I is available worldwide in Silver Mist, Heather Poly, and Inverness Green, and on epiphone.com in exclusive Vintage Sunburst and Cherry finishes. An Epiphone Inspired by Gibson Custom hardshell case is also included.
1963 Firebird V
Epiphone and Gibson Custom have teamed up again to create the Inspired by Gibson Custom 1963 Firebird V – an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird was Gibson’s first neck-through-body model, and it went on to be used by players in a wide range of genres, including blues legendJohnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and PhilManzanera of Roxy Music, to name a few.
The Epiphone Inspired by Gibson Custom 1963 Firebird V delivers vintage Firebirdspecifications at an accessible price, including a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side. Kluson planetary geared “banjo” tuners anchor the strings at the headstock, while an Epiphone ABR-1 bridge and newly redesigned Maestro Vibrolawith an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini-humbucker pickups with Alnico 5 magnets, CTS potentiometers, Mallory capacitors, and a Switchcraft 3-way pickup selector toggle switch and1/4” output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. The Epiphone 1963 Firebird V is available worldwide in Frost Blue and EmberRed, and on www.epiphone.com in exclusive Vintage Sunburst and Cherry finishes. An Epiphone Inspired by Gibson Custom hardshell case is also included.
For more information, please visit epiphone.com.
What if Deftones’ lead singer Chino Moreno fully leaned into his love for the Cure and Depeche Mode (think “Digital Bath,” “Teenager,” “Anniversary of an Uninteresting Event,” and “Cherry Waves”)? The short answer is Crosses (often stylized as †††). And the sole sonic sniper pillowing and piercing through Moreno’s moodily melodic vocals is multi-instrumentalist Shaun Lopez.
Prior to working with Moreno in Crosses, Lopez cofounded Far—an influential post-hardcore 1990s contemporary of the Deftones in Sacramento—and has tallied a variety of producer credits, collaborating with Chon, Rob Zombie, Lupe Fiasco, Dead Sara, Whitechapel, and others. That versatile background is evident when experiencing Crosses with a pair of headphones or seeing them live onstage.
Lopez and bassist Chuck Doom had been jamming together in the late 2000s, and later recruited Moreno to front the dark dance party. As Crosses, the trio released three EPs and a self-titled debut full-length between 2011 and 2014, before going on hiatus in 2015.
Crosses was revitalized in 2022 with fresh material. Then, following the departure of bassist Chuck Doom, the remaining duo doubled down on their digital-based dynamism to feature even more synths, keys, and electronic experimentation. Now, for almost 15 years, the band has been weaving together sounds of new wave, electronica, goth rock, industrial, and ambient pop, as if they’re producing a soundtrack to a neo-noir readaptation of The Good, the Bad and the Ugly.
Part of Lopez’s post-hiatus experimentation included sampling his guitar through his keys. “When we started Crosses, I was just learning to play piano,” he shares. “I think, back then, I wanted to make synthy-sounding songs, but I didn’t know how to play synths. I was like, ‘How can I get my guitar to sound like a synth?’ So I just incorporated pedals, lap steel, and anything else to make my guitar unrecognizable.
“Since those first songs, I’ve really learned how to play keyboards, and by better understanding that new instrument, at times, I’ve become more inspired by synths over guitar,” recalls Lopez.
But no matter how many synths or keyboards get put to tape, you’ll still see Lopez onstage with a guitar draped over his shoulder.
“I do prefer to play guitar live because it’s more fun and I can run around,” he shares. “I am always chasing sounds no matter the instrument it takes to get there. My sound is growing because I’m always learning. I think if you stop learning, you stop progressing … but guitar will always be home.”
Before Crosses’ sold-out show at Nashville’s Marathon Music Works, Lopez welcomed PG’s Perry Bean onstage to dissect his setup. The lone instrumentalist showed off six stellar guitars, broke down the heavy lifting his FM9 endures for Crosses’ sets, introduced a peculiar pedal he can’t live without, and demoed a Gretsch that sounds like an angry orca.
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C Beast
“It’s the best-looking guitar I’ve ever seen in my life,” contends Lopez. The Gibson Les Paul Custom 20th Anniversary 1974 model is set for drop-C duties, and takes a custom set of Dunlops (.011–.070). He upgraded its original pickups with a set of Bare Knuckle Warpig alnico-5 humbuckers.
Special for Standard
Chino left this over at Shaun’s place long enough that Lopez fell for the devilish doublecut. Before he bonded with Chino’s SG Special, Lopez stayed away from SGs because of the uncomfortable neck dive, but he says this rocker balances really well (especially with a wireless pack), and the P-90s make a perfect contrast to his other guitar tones. This one rides in standard or drop D, and like the rest of Lopez’s electrics we’ll see, it takes a more standard fare of Dunlop strings (.010–.046).
Little Red Corvette
While he was picking up a 1978 P bass at Guitar Center in L.A., Shaun spotted this 1960s Gretsch Corvette. It had been at the GC for months collecting dust, so they made Lopez a sweet deal and he left the store with both instruments. While the Les Paul might be his favorite guitar, he did admit that this cherry Corvette is his favorite to play, and that’s clear with all the finish that’s been thrashed during this Crosses tour.
Shaun tunes it to standard or drop D, but when the crowd hears it, they won’t believe their ears—as he uses the pitch-block parameters within the Fractal Audio FM9 to drop down the Corvette 17 levels. It sounds like an angry orca!
Midnight Cruiser
The above Gretsch G2420T Streamliner Hollow Body Single-Cut with Bigsby was resting in backup duties compared to its Schecter counterpart, but its hotter BT-3S humbuckers have proved it mightier for the stage.
Easy Rider
The previous Gretsch took over first-chair hollowbody touring duties for this Schecter Coupe’s sibling that’s safe at home, but Lopez notes that the Coupes were the most-used guitars while recording Crosses’ 2023 release, Goodnight, God Bless, I Love U, Delete.
T Time
Lopez caters many of Crosses’ sounds around the Tesla TV-ML1 humbuckers found in his Schecter Coupe. He tried to acquire another hollowbody, but Schecter no longer makes that model—however, they pointed him towards their PT Fastback that uses the company’s UltraTron humbuckers, which are very similar to FilterTron-style pickups.
To Infinity and Beyond!
Shaun slides around on this Fender FS-52 Deluxe Lap Steel. All the strings are tuned to D, creating a powerful droning effect.
Also, notice below that the FS-52 sits a Sequential Prophet-6—a 6-voice analog synthesizer that gets used throughout Crosses’ albums and live sets. And the Novation Launchkey 49 MK3 controller triggers samples, loops, and works with Ableton Live for show production.
Shaun Lopez's Pedalboard
Creating Crosses’ serpentine soundscapes involves an abundance of gear. Lopez doesn’t really document his methods on their recordings, so when playing live, he’s left to recreate his tones from scratch. To help accomplish that feat in a compact and efficient fashion, he centers his live rig around a pair of Fractal Audio FM9 units powered by a Fryette LX II Stereo power amp. One transforms guitars into everything but, and the other partners with his FS-52, unleashing a tidal wave of Daniel Lanois-inspired washes and sustain. Two effects that the FM9 couldn’t replicate were the Chase Bliss Mood and a modded vintage Electro-Harmonix Micro Synthesizer. Utility boxes include two tuners—Peterson StroboStomp HD and TC Electronic PolyTune 3—MIDI Solutions Thru 2-output box, a pair of BeardBuilds AB boxes, a Dunlop Volume (X) Mini, a Mission Engineering SP-1 pedal, and offstage, a Radial ProD8 8-Channel Rackmount Direct Box. A Voodoo Lab Pedal Power 2 Plus and Truetone 1 Spot juices everything up.
Shop Shaun Lopez' Crosses (†††) Rig
Gibson Custom 1968 Les Paul Custom Reissue
Gibson SG Special
Gretsch G2420T Streamliner Hollowbody Electric Guitar
Schecter PT Fastback Electric Guitar
Sequential Prophet-6 - 6-voice Analog Synthesizer
Novation Launchkey 49 MK3 49-key Keyboard Controller
Electro-Harmonix Micro Synthesizer Analog Guitar Microsynth Pedal
Peterson StroboStomp HD Pedal Tuner
TC Electronic PolyTune 3 Polyphonic LED Guitar Tuner Pedal with Buffer
Dunlop DVP4 Volume (X) Mini Pedal
Mission Engineering SP-1 Expression Pedal
Radial ProD8 8-channel Passive Instrument Direct Box
Voodoo Lab Pedal Power 2 PLUS 8-output Isolated Guitar Pedal Power Supply
Truetone 1 SPOT Slim 9V DC Adapter