Grace Potter rockin' her Signature V last night in Austin! (Photo by Gary Miller)
Les Paul Custom Maple
Elitist Dwight Yoakam "Dwight Trash" Casino
SG Special Limited.
Gibson Custom Shop VOS Ace Frehley Budokan
Gibson USA Traditional Plus Desert Burst
Gibson Custom Shop VOS 1958 Reissue Lemon Burst
Epiphone Standard Plus Cherry Burst
Ivar Bjørnson from Enslaved talks about the love of his life -- Gibson guitars. Bjørnson exclusively plays SGs and is delighted to showcase the SG EDS-1275custom Double Neck, which he describes as "the perfect guitar."
Check out the Les Paul Standard: http://www2.gibson.com/Products/Electric-Guitars/SG/Gibson-Custom/EDS-1275-Do...
Solid Mahogany Body. :))
Billie Joe Armstrong Les Paul Junior Double Cut The Les Paul Junior was first introduced in 1954 as a more affordable “student model,” the little sibling to the Les Paul model. Since that time it has become a no-nonsense favorite of countless punk and garage rockers, beloved for its straight-on power and playability. It’s of little surprise that this utilitarian instrument should appeal to the premier punk rocker of his generation, and Billie Joe Armstrong has used a Gibson Les Paul Junior right from the very start of his tenure with Green Day. In honor of Billie Joe’s achievement in taking the punk ethos, attitude and energy right to the top of the mainstream without once compromising his vision, Gibson USA presents the Billie Joe Armstrong Les Paul Junior Double Cut, a great partner to the original single-cutaway Billie Joe Armstrong Les Paul Junior, and a guitar that is primed to get you straight into no fuss, no frills rock ’n’ roll. Designed in the image of the late ’50s rendition of the breed, the Billie Joe Armstrong Les Paul Junior Double Cut is crafted with select tonewoods and an advanced rendition of Gibson’s hallowed P-90 pickup, the noise-cancelling H-90, with a double-cutaway body and subtle custom graphics to help it stand out from the crowd, and includes an extra special new Gibson gigbag with a stylish surprise lurking inside...
Gibson has a history of innovation that is unmatched in the guitar world, and the first Les Pauls of the 1950s were the most versatile guitars ever created. It's only natural that Gibson USA would continue to push the envelope for power, tone, and performance flexibility, and the Les Paul Studio makes the perfect platform to play it forward into the 21st century. Welcome the 2012 Les Paul Studio Limited, a guitar born out of the great tradition of the original Les Paul Standard, equipped with the latest incarnations of Robot Guitar tuning capabilities, Chameleon Tone Technology, and the massive connectivity potential of Gibson's latest "Blue Dot" Robot Interface Pack (RIP), included. All this, and the 2012 Les Paul Studio Limited is still a descendant of the timeless classic in every regard, with traditional Les Paul tonewoods, specs and playability, two of Gibson's most revered magnetic pickups, plus a piezo-loaded bridge for acoustic tones, and the great look of its Fireburst Finish in hand-sprayed, high-gloss nitrocellulose lacquer.
Check out the Gibson Les Paul Studio Limited
What stands out to you about Gibson guitars?
It’s the history and the quality of the instrument, too. It’s an amazing instrument. It’s like a cheeseburger; it doesn’t go out of style, no matter what generation. Whether somebody picked a Les Paul up in ’58, that same guitar still works today. It doesn’t go in and out of fashion. And that’s because it’s a great instrument. It doesn’t matter what violin player is going to pick one of these up and whether it was made 10 years ago or 100 years from now. You pick up a Les Paul, and it’s always going to sound great. When you buy it, it’s an investment, and you’re never going to have to buy another guitar again.
Even though you’re devoted to Black Label Society now, are you still really close with Ozzy?
Absolutely. Without Ozzy, there’d be no Zakk Wylde. There’d be no Black Label. I wouldn’t have the Bunker studio. I wouldn’t have Black Label hot sauces or Black Label beer or Black Label beef jerky. I’ve got all these things flying around on the table, all because of Ozzy
What inspired your now-famous Bullseye design for the Les Paul?
Obviously, being a huge disciple of Rhoads, I had an alpine white Les Paul when I started out… when I joined Ozzy, between the blonde hair and the white Les Paul, I thought, “Oh, it feels like this is a Randy Rhoads tribute band!” [Laughs] And obviously Randy also had the polka-dots, and what I wanted originally was the Vertigo design for the Hitchcock movie, and my buddy Max, who built Slash’s original Gibson Appetite for Destruction guitar, he painted my guitar. I had a photo shoot, and I said, “Max, I want this spiral thing, and I’m doing a cover shoot for all these things, and can you get it done before Tuesday?” And when I opened the case, it was a bullseye. So I was like, that wasn’t what I wanted, but obviously I did the photo shoot with the guitar, and the rest is history.
You recorded much of Black Label Society’s latest album, “Order of the Black,” at your new home studio, The Bunker. Tell me about the process.
Yeah, it’s awesome. When you think about it, with all the money you end up spending, it’s worth it. I remember telling Ozzy when he put up a studio, “Ozzy, can you imagine how much money you must have spent from the first Black Sabbath album until now on recording?”… With Pro Tools, people can record at their homes and actually put out album-quality stuff.
So many musicians look up to you. Flattering?
Well, my friends always said, “Zakk, stick around long enough, and they’ll have no choice but to actually like you.” [Laughs] I’m like, “Thanks, guys.” So, between all the moral support I get from my buddies, it’s a miracle I’m still playing. [Laughs]
Hanging with Zakk Wylde at Ozzfest.
Sure, Zakk Wylde is an incredibly talented guitar player, with the kind of soloing skills that would make any player envious.
But, he’s also a really nice, down-to-earth guy.
That’s something I learned back at Ozzfest 2010, when I had the chance to hang out with Wylde and Black Label Society on their tour bus.
At the time, I was scheduled to take photos of Wylde for an upcoming Guitar Edge feature. My friend Rebecca and I texted his tour manager, and since timing at the festival was a bit off that day, the manager welcomed us to wait up on Black Label Society’s tour bus for Wylde to return. Everyone in the band was very cool and professional, and we swapped various concert-going stories and chatted about how the tour was going thus far.
When Wylde got on the bus, he was extremely gracious and personable. Even with the schedule being off for the day and things not going as planned, he sat down with us and chatted at length about the band’s new album at the time, “Order of the Black,” and his continued appreciation for Ozzy. And, yes, we even got to hold his trademark Bullseye Les Paul.
As for songwriting advice, Wylde had this to offer to upcoming metallers: “It always starts with a riff. The riff will easily dictate the melody, because it just inspires you to start singing something.
Southern rock icons Lynyrd Skynyrd will release their new studio album, Last of a Dyin' Breed, next week on Roadrunner Records.
In this exclusive clip, go behind the scenes as Johnny Van Zant lays down vocals and discusses the making of the album, which was recorded at Blackbird Studios in Nashville, Tennessee.
Skynyrd have re-teamed with producer Bob Marlette for the new album; Marlette handled production duties on their last album, 2009's Gods & Guns (buy on iTunes.)
“It was great to get back in the studio with Bob for this new album,” said guitarist Gary Rossington. “We kind of went back old school this time. All of us playing together in the studio as a band, tracking songs and creating licks. We had a lot of fun and the music really flowed for us, so that’s when you know you are on to something good. We can’t wait to let the fans hear these songs and play ‘em live.”
Last of a Dyin' Breed is out Tuesday, August 21, on Roadrunner Records.
Ultra III The Ultra-III - Where Tradition Meets Technology: We all know that deep down, most guitarists love classic designs and shapes. That's why we designed the new Les Paul Ultra-III with the same look and features of a traditional Les Paul but added new technology giving you a guitar that's still a real Les Paul but also so much more!
Two Great Pickup Systems in One Guitar: At the heart of the new Ultra-III are two pickup systems. Powering the first are Epiphone's new ProBucker™ humbucking pickups patterned after Gibson's famous BurstBuckers™. With authentic 18% nickel silver base and cover, Elektrisola wire, accurate bobbins, slugs and screws, and sand casted Alnico-II magnets, the Ultra-III pickups replicate that classic "Patent Applied For" airy tone that defined rock and roll. The second system features Shadow™ Germany's patented NanoMag™ pickup embedded discretely at the end of the fingerboard. Featuring three samarium cobalt magnets, an air coil, and active electronics, this low-impedance pickup captures all the subtle body acoustics and string harmonics. Together, you get powerful humbucker-driven rock crunch as well as shimmering acoustic-like tones and everything in-between.
One-Of-A-Kind Electrics Built-in: If you thought the Ultra-II was jam-packed with modern features, you won't believe what Epiphone has designed into the Ultra-III. Built discretely into the bridge pickup mounting ring is a full-function, chromatic tuner. Push it's ON/OFF button and sound is immediately muted when the tuner is activated. Eleven color-coded LED's identify the note as well as whether it's sharp, flat or in-tune. Also, to allow quick and seamless changes between each pickup system, the Ultra-III's NanoMag Volume knob now doubles as an A/B switch. Just push it in and quickly toggle between Magnetic, NanoMag or both pickup systems with no delay and no "pop." Two additional LED's on the pickup mounting ring provide a visual indicator of which pickup system is active (Red=NanoMag; Blue-Magnetic or Red/Blue=Both).
Hook-Up Directly To Your Computer: The Ultra-III features three different outputs. By using the standard 1/4" MONO output, both the humbuckers and NanoMag are mixed into one signal. When you plug another 1/4" cable into the Ultra III's STEREO output, the humbuckers are routed through one cable and the NanaMag the other. In this way, you can send the humbuckers to your favorite guitar amp and the NanoMag to the PA or an acoustic guitar amp. Using the A/B switch, you can now change "on-the-fly" between the two outputs. The third output is USB. Using a USB cable (included), you can plug directly into your computer and use guitar applications such as Native Instruments GuitarRig™ 4LE (software included, downloadable from Epiphone.com) to play your guitar through a variety of simulated amplifiers and effects while listening through your computer speakers or headphones. GuitarRig also features a recorder, a metronome, a tuner and more.
Guitarist Bryan Aspey demonstrates the Epiphone Les Paul Ultra III.
For complete details please visit:
Playing for Change is a multimedia movement created to inspire, connect, and bring peace to the world through music. The idea for this project arose from a common belief that music has the power to break down boundaries and overcome distances between people. No matter whether people come from different geographic, political, economic, spiritual or ideological backgrounds, music has the universal power to transcend and unite us as one human race. And with this truth firmly fixed in our minds, we set out to share it with the world.
*_* IT IS AWESOME !!!!
By Insun Ryu
Tak Matsumoto Doublecut Custom Ebony.
Best known as the guitarist, songwriter and producer of Japanese rockers B'z, Tak Matsumoto is renowned as Asia’s foremost guitarist. The duo, which includes vocalist Koshi Inaba, holds the record for consecutive #1 singles on Japan's Oricon Singles Chart, having sent a whopping 46 hits to the top since the band's formation in 1988, and is equally known for its dynamic live shows, including a sold-out North American tour in 2011. In addition, Tak has pursued a successful solo career, joined forces with artists such as Steve Vai, Chad Smith and Jack Blades, and won a Grammy alongside Larry Carlton for Best Pop Instrumental Album for their 2010 release Take Your Pick. Tak's worldwide success has spawned the release of seven Gibson signature models, the latest of which—and arguably the most elegant—is the new Tak Matsumoto DC Custom from the Gibson Custom Shop. This guitar follows Tak's preferred offset double-cutaway take on the hallowed Les Paul, and dresses up the package in the elegant Custom attire as conceived by Les Paul and Ted McCarty in 1954. As such, the Tak Matsumoto DC Custom wears a hand-sprayed, high-gloss nitrocellulose finish in Ebony with traditional Custom appointments such as mother-of-pearl block fingerboard inlays, multi-ply body binding, gold hardware and mother-of-pearl split-diamond headstock logo. It's a fitting tribute to Tak Matsumoto's considerable achievements in the music world, and an inspiring instrument to take your own playing to new heights.
The Tak Matsumoto DC Custom begins with the time-tested pairing of a solid, one-piece mahogany body joined to a carved plain maple top. The marriage of unchambered lightweight mahogany and solid maple blends the depth, richness, sustain and cutting power that has made Les Pauls legendary for 60 years. A one-piece, quarter-sawn mahogany neck is carved to Tak's preferred profile, measuring .845" at the 1st fret and .945" at the 12th. A lusciously dark fingerboard made from Richlite®, an extremely durable fabricated material composed of cellulose fiber and phenolic resin, offers the look, feel and tone of ebony in a totally sustainable package. Tak's unique offset double-cutaway design provides an outstanding twist on the classic formula, adding excellent playing balance and uninhibited upper-fret access to the legendary Les Paul tone, while giving the guitar a sleek contemporary look.
A pair of Gibson's finest high-performance PAF-style humbucking pickups takes the Tak Matsumoto DC Custom right over the top. The BurstBucker #2 in the neck position and BurstBucker #3 in the bridge are made with genuine Alnico V magnets and wound with 42-AWG enamel-coated wire for classic creamy warm lead tones and punchy cutting crunch as desired. This calibrated set offers an excellent output balance, with a little more grind in the bridge position for scorching solos, while keeping the neck pickup smooth and clear. According to Tak's preference, the pickups are routed through a traditional three-way toggle switch and independent volume controls, with a single master tone control. The classic pairing of gold-plated ABR-1 bridge and lightweight aluminum stopbar tailpiece work toward excellent sustain in partnership with a PLEK-cut Corian™ nut. Gold-plated vintage-style tuners with green keys present a classic touch, while genuine Schaller™ straplocks keep your guitar safe through the wildest on-stage antics. Each Tak Matsumoto DC Custom includes a black Custom Shop hardshell case, a Certificate of Authenticity, owner's manual and adjustment literature, and is covered by Gibson’s Limited Lifetime Warranty and 24/7/365 Customer Service.
To capture the tonal splendor of this well-crafted guitar, Gibson USA loads the Grace Potter Signature Flying V with a pair of its finest PAF recreations. The BurstBucker Pro Rhythm at the neck and BurstBucker Pro Lead at the bridge are both made with Alnico V magnets and wound with 42 AWG enamel-coated wire like many of the best original PAFs. They provide output levels in line with vintage humbuckers, although the bridge pickup is given extra turns of wire for a little more grind in the lead position and an excellent balance between the two. Also, in a contemporary twist, both pickups are wax potted to combat microphonic feedback, so you can crank this sweet, soulful tone monster through your amp of choice, achieving everything from warm, rich, bluesy tones to wailing lead and crunching rhythm, without fear of howl or squeal. The classic pairing of Tune-o-matic bridge and stud-mounted stopbar tailpiece keep it all locked down for maximum sustain and easy intonation adjustment, and a pair of individual volume controls, a master tone, and a three-way switch give you all the sonic versatility required.
Each guitar comes protected in a plush-lined Flying V hardshell case with black exterior, and includes owner's manual and adjustment literature, along with Gibson's Limited Lifetime Warranty and 24/7/365 customer service.
Grace Potter Signature Flying V Along with her band the Nocturnals, Grace Potter channels the best of late '60s and early '70s rock into a hip and original brew. Grace's soulful voice and stellar guitar playing on her favored Flying V tipped her as a classic rocker right from the start with her band's self-released 2005 debut when she was just 21 years old. Now, Gibson USA proudly presents the Grace Potter Signature Flying V. Crafted from Grade-A tonewoods and loaded with premium hardware and two of the finest contemporary recreations of legendary PAF humbucking pickups, the Grace Potter Signature Flying V is the hippest tone machine to head down the pike in a long time. Its unique look, designed by Grace, includes a hand-sprayed Nocturnal Brown gloss nitrocellulose top finish and satin natural back, sides and neck, and cream-painted Lexan pickguard with custom silkscreened art deco border.
In the image of the classic second wave of '60s Flying Vs, the Grace Potter Signature Flying V from Gibson USA is crafted in solid Grade-A mahogany, a rich, resonant tonewood that has been responsible for many of the finest Gibson electric guitars ever to come off the line. Its glued-in Grade-A mahogany neck is carved to a "Slim V" profile that measures .800" at the 1st fret and .850" at the 12th, and topped with a luxurious dark-brown chechen fingerboard with 22 medium-jumbo frets. A PLEK-slotted Corian™ nut ensures a maximum amount of that crucial neck resonance arrives in the guitar's final sonic brew, while vintage-style TonePros™ tuners with pearloid keystone buttons maintain a traditional look at the back-angled headstock. All this along with Gibson's renowned craftsmanship and the classic specs of the 24-3/4" scale length, a 1-11/16" nut width, and a 12" fingerboard radius ensure legendary playability, too.
AMON AMARTH great melodic death metal with vikings/norse themes .\m/ great weekend...
By Rune X
Keef loved acoustics in the late ’60s. “Jumpin’ Jack Flash” and “Street Fighting Man” were both written on his favored Gibson Hummingbird (vintage unconfirmed). Says Keef: “I tuned to open D, six string. Open D or open E, which is the same thing – same intervals – but it would be slackened down some for D. Then there was a capo on it, to get that really tight sound. And there was another guitar over the top of that, but tuned to Nashville tuning. Both acoustics were put through a Phillips cassette recorder. Just jam the mic right in the guitar and play it back through an extension speaker.” In his Life autobiography, Richards reveals, “There are no electric instruments on ‘Street Fighting Man’ at all... All acoustic guitars. ‘Jumpin’ Jack Flash’ the same.”
Gibson Les Paul Customs
By 1966, Richards was using three-pickup Les Paul Customs (the so-called “Black Beauty”). He had four, at least. He first used one in ’66, but that was stolen on tour in 1967. He purchased a new one in London, and this one was later painted by himself and then-partner Anita Pallenberg. It is now apparently owned by a U.K. guitar collector.
So why did that one go? Various stories say Keef gave it away or forgetfully left it in a Canadian guitar shop. He bought two new Les Paul Customs for the Stones’ 1969 tour, and used one for open-G tuning on “Jumpin’ Jack Flash” and “Street Fighting Man” (live), the other in standard tuning. Both these Black Beauties were reportedly stolen from Nellcote in July 1971. Bad luck or simple carelessness? By ’73, Keef was still using a ’54 Custom for “Midnight Rambler” on The Stones’ ’72-73 tours. The Rolling Stones’ Rock and Roll Circus film shows Keith rocking one of his early LP Customs.
959 Gibson Les Paul Standard Sunburst
Even some ardent Gibson Les Paul fans forget this, but Keith Richards was the first big-name guitarist to tote a Sunburst Les Paul. His most fabled was an original 1959 Les Paul Standard. The guitar was bought new in 1961 from Farmers Music Store in Luton (U.K.) by John Bowen, who played with aspiring English popsters Mike Dean & The Kinsmen. Bowen had a Bigsby vibrato fitted at Selmer’s music store in London before trading it for another guitar in 1962. Soon after, a young Keith Richards, playing guitar in a little-known band called The Rolling Stones, walked in to Selmer’s and bought it.
Richards used the ’Burst extensively in the Stones’ early days. It was seen regularly from 1964 to 1966 when Keith began to favor Les Paul Customs. Appearances on TV show Ready Steady Go and classic songs like “The Last Time” and “Satisfaction” were all played on this ’59 ’Burst.
Keef sold the guitar to Mick Taylor in 1967 – the future Stone had replaced fellow Les Paul maestros Peter Green (and before him, Eric Clapton) in John Mayall’s Bluesbreakers.
There are photos of Mick Jagger with the ’59 Burst at some 1970 recording sessions – by which time Taylor was in The Stones – but it then disappeared. Rumor has it that the guitar was stolen in 1971, either from London’s Marquee Club after a gig, or from Nellcote in southern France during the recording of Exile on Main St. Whatever the truth, it did end up in the hands of Cosmo Verrico of the Heavy Metal Kids who were signed to Atlantic Records (alongside The Stones).
Verrico owned the ’59 until 1974, when he then sold it to Bernie Marsden (later of Whitesnake). Marsden kept the guitar for a little over a week before, perhaps rashly; he sold it to a U.K. collector. The fabled ’59 was sold again to another collector in 2006, “somewhere in Europe” according to auctioneers.
Satisfaction Guaranteed: Keith Richards’ Favorite Gibsons
With a music career that has now hit 50 years (The Rolling Stones performed their first gig on July 12, 1962), Keith (Keef) Richards has played just about every guitar under the sun. He puts his collection at “about 500”, which, amazingly, means he’s acquired a guitar every five weeks, on average, since 1962. Many of these have been Gibson guitars, some with legendary status. Here are just a few of the Gibson guitars Richards has riffed on.
Kirk Hammett Guitar Solo by Gibson Historic.
This is an instructional video for the new Gibson Robot Guitar due out December 7, 2007
This is Zakk peforming at House of Guitars in
Rochester, New York on January 5, 1993 with a band he put together toi do a few gigs with. Great close-ups of Ozzy/Black Label Society
guitarist and his band tearing it up in an intimate setting. This clip has Zakk doing Lynyrd Skynyrd's "Sweet Home Alabama"
Ozzy & Jakk!
Gibson Les Paul Shootout - The New 2012 Spec Gibson Les Paul Standard Vs 2008 Les Paul Standard
Gibson Collectors Choice #2 1959 Les Paul Standard "Goldie"
The Great Gibson Guitar Raid: Months Later, Still No Charges Filed
"They...come in with weapons, they seized a half-million dollars worth of property, they shut our factory down, and they have not charged us with anything," says Gibson Guitars CEO Henry Juszkiewicz, referring to the August 2011 raid on his Nashville and Memphis factories by agents from the Departments of Homeland Security and Fish & Wildlife.
The feds raided Gibson for using an inappropriate tariff code on wood from India, which is a violation of the anti-trafficking statute known as The Lacey Act. At issue is not whether the wood in question was endangered, but whether the wood was the correct level of thickness and finish before being exported from India. "India is wanting to ensure that raw wood is not exported without some labor content from India," says Juskiewicz.
Andrea Johnson of the Environmental Investigation Agency (EIA) counters that "it's not up to Gibson to decide which laws...they want to respect." She points out that Gibson had previously been raided under The Lacey Act for imports from Madagascar.
This much is clear: The government has yet to file any charges or allow Gibson a day in court to makes its case, much less retrieve its materials. "This is not about responsible forestry and sustainable wood or illegal logging, this is about a bureaucratic law," argues Juszkiewicz, who testified last year before a congressional hearing convened by Sen. Rand Paul (R-Ky.). It is, he says, "a blank check for abuse."
About 6 minutes. Written, produced, and narrated by Anthony L. Fisher; shot by Joshua Swain.
Music: "Improvisation: Fast Blues in A" by Rev. Gary Davis
"Arrogance of Federal power" Impacting Gibson Workers.
Henry Juszkiewicz, CEO of Gibson Guitar Corp states: "We feel totally abused. We believe the arrogance of federal power is impacting me, personally, our company, personally, and employees here in Tennessee. And it's just plain wrong."
Always adored Slash's (Guns N' Roses) fashion, style and attitude? Gun N' Roses rocked the music industry with a gritty brand of hard rock after coming out in the 1980's when glam rock was still in trend. They made a difference without the glitz and managed to set a new fashion wave.
This is an instructional video for the new Gibson Robot Guitar due out December 7, 2007
the tuning mechanism is made by Tronical called powertune.
By Roadrunner 2
The last step in the process is final inspection. Here Benny Jones is adjusting the pickup height. He'll go over the guitar thoroughly to ensure the playability and aesthetic perfection. This is the last step the guitar takes before it ships to a Gibson dealer and distributor.
In the "clean" area of final assembly, "plastics" - such as the back plate and truss rod cover are installed, and the guitar is cleaned of dust, buffing wax and fingerprints. Every person in final assembly signs the inspection card to ensure quality and liability.
Adjusting - Setup
In the second stage of final assembly, the guitar strung and "set up after the electronics and hardware have been placed.
Reaming the Peghead
Still in the build area of final assembly, the peghead is "reamed" to clear excess paint and lacquer so the tuning machines can be mount flush and even.
Wiring Control Cavity
Potentiometers are installed and soldered to the jack.
Final Assembly - CPA
Final assembly is separated into three sections - build, adjust and clean. In the build area, toggle knob assemblies are soldered together (pictured) and the CPAs - control panel assemblies - are built.
Buffing Quality Control
One final QC check at the end of the buffing process and the guitar is ready to go on to final assembly.
Frets and fingerboards receive their own final touches as they the frets are polished and the fingerboard is oiled.