AxLabs Hardware is celebrating their official launch with the release of the Habanero by Grover Jackson prewired pickguard. Standard 8 (vintage) and 11 (modern)mounting hole patterns will allow for drop-in fitting on most S-type guitars. Installation can be completed in mere minutes!
Habanero Serrano Pickups by Grover Jackson
The Habanero Serrano Single Coils are Grover Jackson's own Texas-style, high-output take on the classic designs from the 50s and 60s. Utilizing his decades of experience and passionate knowledge of the instrument, the Serrano pickups are designed and handmade in California with all top-shelf alnico magnets, bobbins, and wire.
Using Alnico III magnets, the fuller and warmer tones offer the right amount of fatness for the modern player while still retaining the chimey high end of the classics. The neck has warmer bubbliness, the middle pup harnesses a fatter midrange, and the bridge cuts through the tastebuds with stinging clarity. And when combined in a set, positions 2 and 4 give off those prototypical "out-of-phase" chucks of yesterday with a distinctively modern flavor. Grover also modified the staggering of the pole pieces to better suit modern neck shapes and string gauges than its vintage predecessors.
Custom AxLabs Potentiometers
Unlike any other potentiometers on the market, AxLabs pots were specifically designed for electric guitars with painstaking attention to detail.
Featuring the first completely linear taper available, the AxLabs volume control offers the smoothest (and most musical) feel without any of the lag normally associated with turning the knobs. Volume swells are now 100% linear whereas tone controls retain the classic audio taper.
AxLabs potentiometers also feature machined brass shaft sleeves and are lubricated with 3different types of grease used in specific areas of the moving parts for ultra-smooth rotation. Shafts are then reinforced with a retainer ring positioned for strength and to reduce friction. Lastly, a nickel-plated steel housing was used for the ease of gripping solder as well as the classic, high-end look of vintage pots.
Pure Tone PTT1 Output Jack
A modern-day classic, the patented Pure Tone full-contact jack contains dual tension grounds and dual positive tips for optimal signal flow and lowest possible noise. 100% greater surface area at all contact points creates a more stable connection while eliminating frequency spikes. No more noise crackle caused by pressure grounds!
For more information, please visit axlabshardware.com.
Conceptualized by car designer Ray Dietrich, the original Firebirds had neck-through-body construction, fluid sculpture lines, a single-sided headstock, and special small humbucking pickups.
Being experienced with Gibson’s Thunderbird basses, this Firebird III felt like the right fit immediately and became an instant go-to recording and stage guitar for me. The wide-but-fast neck is superb, the neck-through construction feels more solid than any SG I’ve played, and the pickups nail the perfect blend of Fender bite and Gibson warmth. As a bonus, switching between this Firebird III and a Fender feels more natural than with other-numbered ’Birds.
The Firebird was conceived in 1962–’63, when Gibson president Ted McCarty hired automotive designer Ray Dietrich to come up with a concept to compete with Fender. Nearly everything about this model was new for Gibson: neck-through-body construction, fluid sculpture lines, a single-sided headstock, and special small humbucking pickups. Like the earlier Explorer, Firebirds “reverse” the Fender-style solidbody, with an extended bout below the neck intended more for visual flash than ergonomics. Dietrich even designed a nifty Firebird logo for the pickguard. This distinctive but unconventional instrument required extra factory effort, and quickly proved difficult to build cost-effectively, so Firebirds had to be priced above the SG series, and, more crucially, the Fenders they were intended to compete with.
“The neck-through construction feels more solid than any SG I’ve played, and the pickups nail the perfect blend of Fender bite and Gibson warmth.”
Like Les Pauls and SGs, there were four models of Firebirds, designated by Roman numerals I, III, V, and VII. (Thunderbirds were given numerals II and IV.) Each had a unique neck trim and/or pickup array. Gibson expected the cheapest model to be the best seller, but the Firebird I’s (priced at $215) single pickup and lack of a vibrato arm looked barren by early ’60s aesthetics, while the Firebird III (priced at $280), with two pickups and a vibrato, racked up the strongest sales. The flashier V, with trapezoid inlays and a Tune-o-matic bridge, cost $360, while the gold-plated, 3-pickup VII, priced at $500, was beyond any garage-band budget. Gibson’s oblong, yellow-lined case added another $42.
By late 1964, not only were Firebirds not selling as expected, but warranty repair was another problem. The heavy banjo tuners made their angled headstocks prone to breakage. Gibson decided to revamp the line with a more conventional design, later dubbed “non-reverse,” for the mid-1965 NAMM show. In the meantime, some I and III models were put together with evolved features to clear inventory of neck-body sections (the non-reverse line would have a glued-in neck). My III is one of those instruments. There was also a Firebird I with twin P-90 pickups, a flat headstock, and conventional tuners.
This single-sided headstock design was new to Gibson in the early ’60s.
Photo by George Aslaender
This Firebird III’s headstock has a carved ledge on the face and banjo tuners like earlier ’Birds, but is reversed, with the low E closest to the nut. (The original design made the high E closest to the nut.) Theories on why this was done range from addressing customer or dealer complaints to using up left-handed neck blanks that were prepared but never ordered. Whatever the reason, it resulted in what some find the most player-friendly of the reverse Firebirds, given the familiar string positioning. Another small oddity is the fancier, plastic-tipped, flat vibrato arm, usually found on higher-end guitars instead of the “spoon handles” used on earlier IIIs.
The other features remain unchanged: a multi-laminate, neck-through center section with mahogany wings glued to the sides, a bound, dot-inlaid neck with a 1 11/16" nut, and two mini-humbuckers mounted in metal surrounds with 4-knob, single-switch wiring. There are two forward strap buttons, one on the neck heel and a second on the upper bout, perfectly placed for the strap to slip off and send the guitar floorward. The laminated white pickguard bears the spiffy bird emblem.
It’s estimated that just over 1,000 Firebird III’s were shipped in 1965, but the proportion of reverse, non-reverse, and “Platypus” is unknown, as all were logged identically. While the exact number is lost, the number of Platypuses produced is in the dozens rather than hundreds, and today, they’re worth $15,000 to $20,000. From 1965 to ’66, Brian Jones was the most visible Firebird user, and Johnny Winter, Stephen Stills, Allen Collins, and Phil Manzanera all rocked them in the ’70s. “Reverse” Firebirds did end up returning to Gibson’s line in the ’70s, but this oddity has never been reissued.