Saturday, September 15, 2012
Wednesday, May 9, 2012
Saturday, April 28, 2012
Wham, Bam, Thank You Man! Gibson & Floyd Rose®
Few gadgets have divided guitarists quite like the Floyd Rose® bridge. Call it a tremolo, call it a whammy bar, call it a wiggle-stick – under whatever name you choose to use for it, that little bar and the hefty bridge it attaches to has created some brilliantly tender – and some woefully overwrought – performances. And although Gibson guitars might not be the first instruments that come to mind when you think of the Floyd Rose® (that honor probably goes to Kramer, who secured the first Floyd Rose® distribution deal back in the early ’80s), there have been several Gibson models throughout the years that have paid tribute to this most whale-sound-inviting of guitar gadgets.
Perhaps the ultimate in a Floyd-equipped Gibson is the Gibson Custom Les Paul Axcess Standard. On the surface this instrument appears to be a regular Les Paul with a Floyd in place of its traditional bridge/tailpiece combination, but it features several crucial player-friendly accoutrements: a reshaped neck joint created to provide a “heelless” feel with unimpeded access to the 22nd fret, and an improved “belly scarf” (ribcage contour), and exposed-coil super hot 496R and 498T humbuckers with dedicated series/parallel coil splitting. Actually, these “other” upgrades are revolutionary enough on their own that the model is available in a fixed bridge version as well, which is championed by players such as Joe Bonamassa and Styx’s Tommy Shaw.
The Axcess serves as the springboard for Rush guitarist Alex Lifeson's Gibson Custom model, which incorporates GraphTech™ Ghost® piezo bridge saddles to select or mix between electric and acoustic sounds.
Zakk Wylde is not averse to the occasional Floyd Rose® freakout. In addition to a succession of Epiphone Graveyard Disciple models with custom finishes, the Black Label Society frontman also regularly hoists a mighty, bullseye-adorned V beast. The guitar features Zakk’s choice of EMG-81 humbucker in the bridge position and an EMG-85 at the neck. With black speed knobs in the classic Les Paul layout, this guitar is a true hybrid.
If bullseye graphics and active pickups aren’t quite your style, check out the Gibson Flying V Tremolo, which takes a somewhat straightforward Flying V – mahogany body and neck, 496R and 500T ceramic humbuckers – and adds a Floyd Rose® tailpiece and locking nut. If the Explorer is more your speed, the Explorer Tremolo offers similar features but in the legendary Explorer shape and neck profile.
Launched at NAMM this year, the SG Diablo Tremolo adds a Floyd Rose® and two more frets to the classic SG configuration while stripping the controls down to single master volume and tone pots. Combined with the lack of a pickguard, the look is a little more sleek and aggressive than the traditional SG layout. It’s joined by a Les Paul cousin, the Gibson Shred Les Paul Studio, which includes a 22-fret fingerboard crafted from Richlite®, a fabricated material composed of cellulose fiber and phenolic resin, which offers the constructional and resonant properties of fine hardwood, but with improved durability.
There are a few collectible discontinued models with Floyd Rose® tremolos too, including the M-III. While most Floyd Rose®-equipped Gibsons have been based on established classic models like the Les Paul and Flying V, the M-III was a bold attempt at a double-cutaway, 24-fret shred-oriented instrument with humbucker-single-humbucker pickup configuration. Unfortunately its release coincided with the end of the golden era of shred, and while the model stuck around for a while before finally being discontinued, the early ’90s just wasn’t its time.
Thursday, March 15, 2012
Gibson Artists Lined Up for Musikmesse
Several Gibson artists will be at the Gibson booth at this year’s Musikmesse, the world's leading trade fair for the music industry.
Musikmesse features numerous exhibitor booths showing products, as well as workshops, concerts demonstrations and seminars.
The event takes place in Frankfurt, Germany, from March 21-24.The final day is consumer day and the following Gibson artists will be appearing at the Gibson booth:
10 a.m. – Daniel Wirtz
10:30 a.m. – Jeff Waters
11:30 a.m. – David Pfeiffer
12 p.m. – Everlast
1 p.m. – Bring Me the Horizon
2:30 p.m. – Livingston
3 p.m. – Oomph!
Saturday, January 28, 2012
Tuesday, January 24, 2012
NAMM 2012: Visiting the Gibson Booth
As I write this I’m sitting in a hotel room in San Diego, the day after the 2012 NAMM show wrapped up, taking a much-needed break after a foot-punishing four days of walking the halls, catching up with friends, putting faces to names and saying hello in person to artists I’ve only met over the phone. NAMM is an assault on the senses (especially if you stroll too close to the drum section!) but up on the third floor, away from the deafening din, you will find the Gibson room. Although I write articles for Gibson.com, I’m all the way over in Australia for the rest of the year, and not privy to news about upcoming products, so NAMM is an exciting opportunity for me to see what’s on the way, just as it is for everyone else.
Perhaps the biggest buzz of the 2012 NAMM Show was Brian Wilson of the Beach Boys stopping by the Gibson booth. Due to a packed schedule I was unfortunately unable to see it for myself, but grown men – jaded industry professionals who have seen it all – later turned misty-eyed when telling me of seeing and hearing Wilson.
The Epiphone Dave Navarro Signature Acoustic/Electric was on display, nestled proudly amongst the other, more traditional acoustics. It looked quite at home from a distance, but get closer and you’ll see some wonderful inlay work – custom mother-of-pearl “unicursal hexagram” design. Navarro’s guitar features a cutting-edge pickup and preamp system developed by Epiphone with Shadow of Germany which will no doubt be put to very good use playing the Jane’s Addiction anthem “Jane Says.” Naturally, Navarro stopped by to say hello to fans and to show off the new guitar.
On Saturday legendary folk singer and psychedelic pioneer Donovan – heck, he practically invented world music – showed up to meet fans. Donovan is working with Gibson to replace his prized Gibson J-45 acoustic guitar, which was stolen from him. This was the very instrument that he used to write hits including “Sunshine Superman,” “Mellow Yellow” and “Hurdy Gurdy Man.”
One of my favorite NAMM sightings was the SG with Floyd Rose. Everything you always loved about an SG – dual humbuckers, thin mahogany body, devilish horns – but with the added sonic scope of a Floyd Rose tremolo bridge. The body is slightly wider than its fixed-bridge brother to allow more space for the tremolo block and bridge springs, and this is sure to fatten up the tone a little, too – a clever way of compensating for the slightly thinner sound many players hear when using a Floyd Rose-equipped guitar.
There were a pair of Gibson Modernes on show – great to see this model getting some love – and Zakk Wylde’s new Vertigo Les Paul. This is more like the design that Zakk actually wanted when his original “Grail” Les Paul was custom-painted. The Vertigo was perched right next to the new Ace Frehley “Budokan” Les Paul Custom, a reproduction of the legendary 1974 three-pickup Les Paul Custom used by the KISS guitarist in 1977.
Perhaps most exciting of all, though, was the pair of Robot-equipped Epiphone acoustics. This technology has been put to great use in an ever-increasing line of electric Gibson models, but it’s never before been seen in a production acoustic by either Gibson or Epiphone. Traditionalists will love the more dreadnaught-like version (below left), while those with a flair for the outrageous should check out the flashier version.
But perhaps most exciting of all is the Kirk Hammett Flying V. Modeled on Kirk’s own guitar, which he’s used extensively on stage and in the studio with Metallica, this guitar will be available in 50 aged and signed versions, each played by Kirk prior to final approval and with a leather-bound certificate of authenticity, and 100 aged pieces with the certificate. It never seemed to be around when I was at the Gibson booth and I’m just as excited to see one, as you no doubt are!
Monday, January 23, 2012
20 Essential Facts About the Gibson J-200
Ask a guitarist to name the ultimate Gibson acoustic, and many will reply – it’s the J-200. Elegant and flamboyantly curvaceous even by Gibson’s top-line standards, the J-200 has found fame in the hands of numerous legends: Elvis Presley, John Lennon, Pete Townshend, Bob Dylan, George Harrison, Jimmy Page, Neil Young and The Edge, to name but a few. Heck, even kids’ TV cowboy Rex Traylor played a J-200.
The J-200 entered production in 1937, and continues to this day as one of the most-desirable guitars in history. The J-200 is known as the “king of the flat-tops” for good reason.
Here are 20 essential facts (and trivia) about a guitar that simply conveys: now, this is a Gibson.
1. In 1938, the guitar was launched as the Super Jumbo, Gibson’s top-of-the-line flat-top guitar. Made at Gibson’s famous factory in Kalamazoo, Michigan, it boasted a super-large 16-7/8” flat-top body, with a double-braced red spruce top, rosewood back and sides, and initially only a sunburst finish. Given the weak, post-Depression economy and upcoming wartime austerity, the ornate Super Jumbo was initially produced in very limited, made-to-order quantities.
2. In 1939 it was renamed the Super Jumbo 200. As with Gibson’s model-numbering practices of the era, the “200” referred to its initial retail price of $200. That would be circa $3,100 in 2012. If you had the money, an extra 50 bucks got your name inlaid along the fretboard. Bling!
3. The original Super Jumbo 200 was super rare – records suggest that in the first four years before the U.S’s involvement in World War II, Gibson shipped only 100 SJ-200s.
4. It was 1947 when the tonewoods changed – the back and sides were now being made of maple. Soundwise, many guitar aficionados prefer maple as it allows for clearer separation of the notes. But early models made from rosewood are highly prized by acoustic guitar collectors, purely for their rarity.
5. It was 1955 when the name was simplified again: from hereon, it was mostly called the Gibson J-200. That said, the model name SJ-200 has since been used on special models.
6. What’s that guitar pictured on the album cover of Bob Dylan’s Nashville Skyline? It’s Dylan’s J-200. Dylan was given the guitar by The Beatles’ George Harrison. Dylan played the guitar live at 1969’s Isle of Wight festival in the U.K.
7. The Beatles’ George Harrison himself was keen a fan of the J-200 – he “upgraded” from the Epiphone acoustics he previously favored to record The Beatles, a.k.a. “The White Album.” “For You Blue,” “Here Comes the Sun,” “While My Guitar Gently Weeps”, “Long, Long, Long” and “Piggies” all feature Harrison playing one of his Gibson J-200s. Harrison also composed most songs for his solo debut, All Things Must Pass, on a Gibson J-200. Was this the very same guitar given to Dylan, and later given back? Fab Four fanatics, let us know the truth!
8. The Gibson J-200 eventually came with a “mustache” bridge. We just like that. A mustache bridge.
9. A Gibson J-200 was the defining acoustic sound of The Who’s Pete Townshend. He wrote “Pinball Wizard” on his J-200, which starred on most all recordings beginning with The Who’s Tommy album. “I picked it out from about five at Manny’s in New York in 1968,” Townshend told Gibson.com. “ It had a crisp sound and an easy neck. It was only later I found how well the J-200 records when you play it hard. Like the Everly acoustic, it has a rather dead soundboard and that allows you to really dig in when strumming. They are hard to bring to life with piezo pickups because the sound is so distinctive in real air, but the body shape, the necks and the sheer strength of the guitar are all very important to me. They also look utterly beautiful.”
10. Townshend’s favorite J-200 “exploded.” He was working on his solo album Iron Man in 1990 when disaster struck. Townshend told Guitarist magazine: “I don’t have romantic misconceptions about musical instruments – they’re just wood, probably far more useful as pulp than anything else. There are actually a couple of instruments that I would miss, and in fact a weird thing happened to the J-200 that I’ve had for a long time. Half-way through Iron Man it got wet in the studio and exploded. It was almost like the guitar getting back at me – the only guitar I cared about dying on me!” Pete donated the original guitar to the Rock and Roll Hall of Fame in Cleveland, Ohio, in 1993. Townshend and Gibson later collaborated on his own signature model.
Pete Townshend still didn’t stop smashing J-200s, though. Watch Townshend on Letterman in 1993. Oh, Pete. Why did you do that?
11. Elvis Presley was a famous J-200 player. In October of 1956, Elvis acquired a new Gibson J-200N guitar, serial number #A22937. Elvis played the guitar for most shows in 1957.
12. Coldplay’s Chris Martin has auctioned his best-known J-200s. At the end of 2009, the U.K. band hosted an “End of Decade Clearout Sale” for members of their “Coldplaying” message boards, comprising instruments, clothes and memorabilia. Martin’s Gibson J-200 KC1, used to record “Til Kingdom Come” was auctioned for ?5100; his J-200 M1 used to play another X&Y song, “A Message,” went for ?5650. The complete auction raised over $400,000 for Coldplay’s designated U.K. children’s charity, Kids Company.
13. If you want to “go large” on the already flamboyant J-200, you’ll be wanting the Gibson SJ-250 Monarch. It’s amazingly ornate, with gold-plated tuners, detailed inlays, intricate bindings and the very finest AAA tonewoods.
14. If you want to “go smaller” on a J-200, check out Emmylou Harris’s smaller Gibson L-200. Harris played J-200s on all most of her classic albums, including Angel Band where she holds the J-200 given to her by Gram Parsons on the cover photo. The L-200 is just as nice as a J-200, but more manageable for smaller hands.
15. At the end of 2010, early J-200s came sixth on Vintage Guitar magazine’s “Most Valuable” list. Specifically, Vintage Guitar rated a 1938-42 Gibson Super Jumbo/SJ-200s at being worth between $90,000 and $120,000. The early use of rosewood = rarity.
16. The Everly Brothers played customized Gibson J-200s on breakthrough hits “Bye Bye Love” and “Wake Up Little Suzie.” In 1962, Gibson launched the Everly Brothers guitar model, a design blend of the J-200 and J-180.
17. Jimmy Page played a Gibson J-200 on most acoustic Led Zeppelin tracks. Some suggest Page “borrowed” his first J-200 from U.K. session player “Big” Jim Sullivan… in Page’s pre-Zeppelin session days, he was sometimes known as “Little” Jim, so producers knew who was booked. But Page definitely used his Gibson J-200 on Led Zeppelin cuts “Babe I’m Gonna Leave You,” “Your Time is Gonna Come” and “Black Mountain Side.”
18. Edge’s J-200 is his “bedrock” acoustic for U2 albums. The solo on “Love and Peace or Else” from How to Dismantle an Atomic Bomb, is a J-200 stuck through effects and played with slide.
Edge can still “busk” acoustic, though. Another Letterman performance below – even if you hate U2, this is impressive: two 40-something men in chairs + a Gibson J-200 = singing with a cowboy vibe. Bono gets his own lyrics wrong, but Edge keeps a strummin’. Rex Traylor would be proud.
19. Noel Gallagher plays a J-200. But before the royalty checks started rolling in, Gallagher wrote many songs on its more cost-conscious sibling, the Epiphone EJ-200. It was Noel’s EJ-200 used to write and record Oasis’s “Wonderwall.”
20. After all this, much credit must go to pioneer Ray Whitley. The 1930s C&W singer worked with Gibson in 1937 to help develop the SJ-200. Whitley was the first performer to own a Gibson SJ-200 and that very first SJ-200, custom built for Whitley by Gibson, remains on display in the Country Music Hall of Fame and Museum. Gibson is currently building a 100-only limited-edition run of SJ-200 Ray Whitley Specials. Completely hand-tooled, these SJ-200s include a diamond dotting the “i” in Gibson’s logo on the headstock and handpicked, precious gems unique to Montana, are set in each bridge pin. It looks utterly beautiful, even for an SJ-200, and is a fitting tribute. Hats off to Ray Whitley... you helped start it.
More Gibson acoustics:
John Hiatt and his J-45
20 Essential Facts About The Gibson J-180
Saturday, January 21, 2012
Gibson Exclusive: Matt Swanson on Ace Frehley ‘Budokan’ Les Paul Custom
During a recent trip to Gibson Custom in Nashville, Tennessee, Swanson sat down for a chat about the unique attributes of the “Budokan” guitar that, through the Custom Shop’s detailed and perfectly accurate recreations, can now be owned by other guitar fans.
To see Ace’s interview about this iconic instrument, click here.
Also, check out Epiphone’s Ace Frehley “Budokan” Les Paul Custom.
Thursday, January 19, 2012
Gibson Exclusive: Ace Frehley Talks ‘Budokan’ Les Paul Custom
Gibson Custom has recreated one of the most famous guitars in music history – the Ace Frehley “Budokan” Les Paul Custom. The master craftsmen at the Custom Shop have forged this tribute to the KISS guitarist’s most famous axe. Frehley nicknamed his Les Paul “Budokan” because it was the very guitar he played when KISS broke The Beatles' sell-out record at Japan’s legendary Budokan arena in 1977. It also was Ace’s main touring guitar throughout ’77 and ’78, was his go-to studio guitar after that and was used in the 1996 KISS reunion.
With the Ace Frehley “Budokan” Les Paul Custom, Gibson Custom has painstakingly recreated every single one of the idiosyncrasies of Ace’s customized guitar, drawing on digital scanning technology and working closely with Frehley and the guitar’s current owner, Matt Swanson. When Frehley recently took one of the guitars for a spin, he was amazed at how much the guitar felt, played and sounded like the real deal.
Check out Gibson’s exclusive interview with Ace below, in which he shows off the new “Budokan” Les Paul Custom, talks about KISS’s early days and shares some stories from his new book, No Regrets.
Wednesday, January 18, 2012
Donovan Visiting Gibson Booth at NAMM
Folk-rock legend Donovan will be making an appearance at the Gibson Guitar booth at the 2012 NAMM Show. Donovan is planning to stop by the booth (#303AB) at 10 a.m. Saturday at the Anaheim Convention Center in Anaheim, California.
Donovan is teaming up with Gibson to replace his prized J-45 guitar (seen in the photo), which was stolen from him. It’s the instrument that the new Rock and Roll Hall of Fame inductee used to write many of his hits, which include “Sunshine Superman,” “Mellow Yellow” and “Hurdy Gurdy Man.”
Donovan will join many other world-renown artists, including Joe Bonamassa, Dave Navarro and Brian Wilson, who are making appearances at the Gibson booth during the NAMM show. For a full schedule of events, click here.
Photo credit: Sydney Randolph Maurer/Donovan Archive
Thursday, January 12, 2012
Master Luthier Ren Ferguson Retires from Gibson Guitar
After 25 years of service to Gibson Guitar’s acoustic division, Master Luthier Ren Ferguson has retired from the company. Ferguson joined Gibson when, in 1986, the company acquired Flatiron Mandolin, where he was head luthier. For the last quarter-century, he has spearheaded building and design for Gibson Acoustic in Bozeman, Montana.
“I will always be a Gibsonite at heart,” Ferguson said. “These guitars are a part of who I am. The tradition of decorative art that are a hallmark of Gibson fits perfectly with my interests in engraving and carving.”
Gibson would like to extend our sincere and deep appreciation to Ferguson for his years of commitment, passion and tireless enthusiasm for the acoustic guitars built in Bozeman.
“What we’ve learned from Ren combined with the support from Gibson allows us to continue crafting the highest quality acoustic instruments,” said Dennis O’Brien, general manager for Gibson Acoustic. “We are blessed to have enjoyed his energy, optimism and humor for the past 25 years. He will always be a friend to Gibson.”
Gibson expects to continue to work with Ferguson as a contractor for special projects. In the meantime, he will look to expand his own brand and creative outlets – including his own signature guitars, as well as black powder gun building and engraving.
Gibson’s best wishes go out to Ren Ferguson and his family in all their future endeavors.
Saturday, January 7, 2012
Teen Guitarist Wins Robert Johnson Award, Gibson Guitar
Matthew Davidson, a 13-year-old blues and rock guitarist, has won the 2011 Robert Johnson New Generation Award. The Shreveport Times reported that Davidson, who is from Shreveport, Louisiana, was chosen from among 25 artists by the Robert Johnson Blues Foundation.
As the winner, the guitarist and singer was given a Gibson Robert Johnson L-1 guitar, along with the opportunity to perform at a future foundation event.
“His style was kind of advanced for his age,” said Steven Johnson, Robert’s grandson and vice president of the foundation. “It was crisp; it was professional. His style with that electric guitar was amazing.”
After winning, Davidson expressed appreciation for the legendary bluesman, and discussed his musical influences, including The Beatles, ZZ Top and Chuck Berry.
“I’ve always been a huge fan of The Beatles,” he said. “In the past couple of years, I’ve started getting into the blues, and that’s been great for me because I’ve gotten so many opportunities and honors in the blues world. But I still like classic rock and some pop.”
Davidson performs with The Matthew Davidson Band and is scheduled to play the New Orleans Jazz Fest in May. For more information on this young star, visit MatthewDavidson.net.
Thursday, January 5, 2012
Gibson Expands Pro Audio Division
Gibson has announced a strategic partnership with the Onkyo Corporation, a worldwide leader in consumer electronics. The move will expand the quality and variety offered by the Gibson Pro Audio Division.
With a reputation of excellence for high quality audio equipment and home theater systems, Onkyo offers Gibson’s newly formed Pro Audio Division a stronger foothold in the ever-growing consumer electronics market, specifically in the areas of amplification, receiver and speaker technologies.
“Onkyo makes some of the world’s best audio equipment, and this partnership will give Gibson the ability to bring a deeper and more enhanced audio experience to music lovers around the world,” says Gibson CEO and Chairman Henry Juszkiewicz. “While people may be listening to more music, they are listening to it primarily in a severely compressed format. The aural disparity between a real system and compressed sound is vast, and as a result, they are simply not hearing tremendously rich sounds. With Onkyo, our goal is to bring a finer listening experience to a larger consumer base.”
Onkyo USA becomes the latest addition to the Gibson Pro Audio Division, which already includes KRK, Cerwin-Vega! and Stanton.
Sunday, December 25, 2011
Disturbed’s Dan Donegan Remembers Getting First Gibson for Christmas
’Tis the season to charm little ones with gifts of Christmas cheer, and Disturbed guitarist Dan Donegan clearly remembers the most important Christmas gift of his life: his first guitar.
“My first electric guitar, it was like from Sears – it was a [Gibson] SG…” he told the Pulse of Radio. “My parents just didn’t really seem too supportive of it in the beginning, because they figured it’s either gonna sit in the closet and collect dust, or ‘he’s gonna play it and it’s gonna be loud and annoying.’ It was kind of a difficult thing to convince them that I was gonna be serious about it, and I wanted this…” He added that, yes, he still has that guitar!
Donegan earlier this year told Gibson.com that classic metal guitarists inspired him to delve into guitar playing in the first place: “I can’t really single out any player, but I liked going to concerts and the idea of being in a band where you see the impact four or five guys on stage have over thousands of people. So, that power and the scenario of the lead guitar just pummeling through the speakers were two things that caught my attention. Early on, I got into a lot of the classic metal players: Tony Iommi and Black Sabbath; the guitarists in Iron Maiden, Judas Priest, Queensryche, Pantera. These bands all had great guitar players, so it definitely inspired me to go down that road.”
Read Gibson’s full interview with Donegan here.
Sunday, December 18, 2011
Gibson Tone Tips: The Capo – A Hand Where You Need It
A basic, unassuming accessory that used to be part of every “beginners’” guitar kit, the capo is an underappreciated, but extremely useful, piece of equipment that can come to the rescue of experienced players and newbies alike. Just in case this is new territory for you, let’s first cover the basics of what a capo is (capo pros, please be patient!), then we’ll explore a few tips and tricks.
Put simply, a capo is a movable clamp that attaches to the neck of the guitar to bar the strings at the desired fret, essentially shortening the playing length of all strings simultaneously. Players use capos for a variety of reasons. They are extremely useful for quickly changing the key of a song without having to transpose the chords that you might already be familiar with in a different key, if, for example, you’re backing a singer who decides on the spur of the moment to change the key of a tune to better suit his or her vocal range. A capo also provides an excellent means of achieving certain desirable open-string positions for riffs or chords that need to be played higher up the neck to fit a particular song. Plenty of experienced players use capos for a wide range of advanced techniques, but a capo is a handy tool for the beginner, too, and makes it possible to play a great many songs in a wide range of keys with knowledge of only a few basic chords. So you only know your first-position G, C, D and Em so far, but want to play a song along with other musicians who do it in the key of A major? No problem – slap on a capo at the second fret, and away you go.
Capos are indispensable to a wide range of more advanced playing styles. Players of country styles that want to access low, open-string runs in a range of keys to produce the characteristic bass-runs (often called the “G run”) of these genres will use capos to great effect. Also, a capo is an essential accessory for many blues slide players who use open tunings, enabling them to reset the neck, if you will, to suit the open and barred positions required by different songs without totally retuning the guitar. Likewise, many fingerstyle players and proponents of DADGAD and other alternate tunings would find life getting dull pretty fast without a capo.
A wide variety of capos are available. The most affordable takes the form of an elastic strap that wraps around the neck and clips in place to keep a firm rubber pad with steel backing in place behind the fret. These do the job adequately, and might be fine for the occasional capo user, but they can be awkward to position and reposition. More elaborate models, made by companies such as Kyser and Shubb, are made out of steel or die cast aluminum, with springs or thumbscrews to provide the string-clamping tension. If you find a capo useful – and many players do – it’s probably worth investing in one of a decent quality, because these are usually easier to put on and take off the guitar, and frequently provide more even string tension and better tuning accuracy as well.
Once you’ve got your hands on a capo, you need to know how to use it. For most guitars, a capo works best when positioned fairly snugly up beside the fret at which you want to stop the strings (note, a capo is never placed right on top of the fret, but just behind it, on the nut-side of the desired fret). This positioning keeps the strings more secure on most guitars, and if your guitar was in tune before you positioned the capo – and its intonation is good – it should still be relatively in tune with the capo on. If your fingerboard has the higher frets that are popular with some players today (for example, Dunlop 6105s and the like), you might need to take extra care in positioning the capo, and perhaps move it further back from the fret, to avoid pulling the strings out of tune. Also, try to avoid tugging strings sideways, or generally altering the spacing between each string, when you position the capo, as this will both pull you out of tune, and create an awkward feel on the fingerboard. You can always re-tune once your capo is on, and sometimes this is necessary, but ideally you can clamp the thing on and off again with no need for readjustment, and no interruption to the flow of your performance.
Standard capos can be used to execute a few “tricks,” too. Consider that you perhaps want to play some higher-position chords in the key of E, but it would be nice to retain a deep low-E in the bass. Clamp a Kyser-style capo on at the 7th fret to hold down the five higher strings only (A through high-E), leaving low-E open. Now barring the D, G and B strings at the 9th fret gives you an easy E major chord with a big low-E in the bass, along with access to all kinds of interesting riffs that would be difficult to achieve without the capo in place. Or, tune your guitar to open-G (D-G-D-G-B-D, low to high), then place the capo on the 7th fret, again leaving the lowest string un-clamped, and you’ve got a cool, unusual positioning for an alternate D-major tuning with a resonant low-D at the bottom. Play around with your own tunings and positions, and you’ll come up with plenty of others of your own. Happy clamping!
Saturday, December 10, 2011
Former AC/DC Bass Player Mark Evans on his New Book and Gibson Rippers
When Mark Evans first got the gig to hold down bass for Australian hard rockers AC/DC, he knew very quickly the group was serious about hitting the big-time. “From the first jam with the guys, I got the feeling of, ‘This is where I’m supposed to be,’ because I could tell these guys were so dead serious,” Evans, who joined the band in 1975, told Gibson.com. “Their vision and intent was amazing. You have to respect that kind of intensity.”
Evans played with AC/DC through their early releases, including T.N.T., Dirty Deeds Done Dirt Cheap, Let There Be Rock and the ’74 Jailbreak EP. Those experiences are captured in Evans’ new memoir, Get Lit: Dirty Deeds – My Life Inside/Outside of AC/DC (out on Bazillion Points Books), which arrived in the U.S. last week. The meaty chapters spill plenty of details about the then-newbie rockers’ early days. Gibson.com caught up with Evans to chat about the memoir, his best memories from AC/DC and his favorite Gibson basses and acoustic guitars. For more about Evans, check out his official website.
What made the time right, at this moment, to put out a memoir?
The motivation came from a few things. I’ve been asked for the last 15 years a number of times, by publishers to do it. But, I had some things happen family-wise in 2007, and then I had the idea to do it, because it became obvious to me that it was the right time. I sat back, took a breath and took stock of what had happened in my life, so far. My other main motivation to write the book was that over the years, people have come to me and asked, “What was it like being on the road with AC/DC?” I feel like this is a way for me to repay the fans for all the support I’ve gotten over the years. They’re so genuine and interested in what happened, so I thought it would be a good thing to put them inside the band. I’ve read so many different things about the band in different books, and there have been a lot of inaccuracies printed, because the band is so secretive. So, I wanted to set the record straight.
What’s your best memory from your time with AC/DC?
There were a lot of amazing things that happened! Overall, the thing I look back on and that still amazes me was how quickly the band moved. I joined them in 1975, and I was told the band would be in England in 12 months. I said, “You’ve got to be kidding me!” Well, we were in London in 12 months and 5 days. [Laughs] I remember how quickly the band generated a following. When I first started working with the band, we were playing small bars and pubs, playing to 15 and 20 people a night. Then, in the first couple of months, we picked up airplay, were on national TV and in six to eight weeks, we were playing to full houses.
You were only 19 when you joined AC/DC. What was it like experiencing everything at such a young age?
You know, when you’re young, you don’t know it. You know you’re 19, but you think you’re so grown up and know everything, so you don’t have that feeling of being young. Now I’m 55 – and a very well-preserved 55, I might add! – but I see 19-year-old people now and think, “They’re just kids!” In hindsight, I look back, and it seems like an amazing situation to get involved in. It was a steep learning curve for me. I learned so much from those guys, and they were a great bunch of guys. I learned about work ethic and commitment from those guys.
What was the most exciting part of writing this memoir?
The biggest blast was seeing the final product and physically having the book in my hands. It was amazing! It’s similar to getting the first record you’ve played on, and you look and say, “I can’t believe this happened.” Physically looking at it, seeing all the photos in there and having the book in my hands was surreal.
Would you say writing the book was cathartic?
Yeah. I’ve been very fortunate, because interesting things have happened to me in my life. I had an unconventional childhood, too, so the whole story of my life is in there. It’s an interesting thing to do. I’m at the point in my life where I’ve had a lot of great things happen to me, and on a personal level, there have been some things I wish had never happened – real nightmares. They’re all in there. It’s a good thing to go back and recount what happened. It gets dark, but it also gets light. It was a really cathartic thing to do.
I’ve heard that you like Gibson J-200s and Gibson Rippers. Good choices!
I love Gibsons! I recorded a lot of the AC/DC stuff with Gibson Ripper basses. I love the J-200s, too. I’m doing a lot of acoustic blues roots music with Dave Tice, and we just released a new record called, Brothers in Arms, where I used my Gibson acoustic. I’ve loved Gibsons ever since I saw Elvis Presley use one on “Jailhouse Rock.” They sound beautiful.
What makes Gibson guitars special?
Oh, boy! If I knew exact what it was, I’d be making guitars myself! A lot of it has to do with the heritage of company, in that it’s been around so long. But, I think it’s also the workmanship. I have quite a few vintage Gibsons, but I also have newer guitars that I’ve bought over the past five years, and the Gibson guitars they’re making now stand up to the vintage ones extremely well. The way they put together the guitars is unbelievable. Gibsons are beautiful guitars, and they’re put together with a lot of care and love.
Tuesday, December 6, 2011
Gibson Launches Pro Audio Division
Good news for musicians. Gibson Guitar has moved heavily into pro audio with the creation of the Gibson Pro Audio division. The division will offer professional grade equipment, including loudspeakers, headphones, monitors, DJ gear, mixers, accessories and more.
Gibson has created the Gibson Pro Audio division by acquiring the esteemed Stanton Group, which includes some of the most respected audio manufacturers in the business – Cerwin Vega!, KRK Systems and Stanton DJ. Cerwin Vega! was responsible for the world's first solid-state amplifier in 1957. KRK Systems began in 1986 as a high-end monitor manufacturer. Stanton DJ was originally founded at Stanton Magnetics in 1946 by Walter O. Stanton, the inventor of the easily replaceable phonograph stylus, and grew into an industry leader in DJ audio equipment.
Henry Juszkiewicz, Chairman and CEO of Gibson Guitar, said, "This new division is perfectly aligned with our core. It expands our reach to fellow music lovers and allows us access to 20 in 20 consumers instead of the one in 20 we currently hit. Stanton produces some of the best pro audio equipment in the world and we're incredibly excited to be working with the very talented team at Stanton as we take Gibson into the future."
Gibson Launches Pro Audio Division
Good news for musicians. Gibson Guitar has moved heavily into pro audio with the creation of the Gibson Pro Audio division. The division will offer professional grade equipment, including loudspeakers, headphones, monitors, DJ gear, mixers, accessories and more.
Gibson has created the Gibson Pro Audio division by acquiring the esteemed Stanton Group, which includes some of the most respected audio manufacturers in the business – Cerwin Vega!, KRK Systems and Stanton DJ. Cerwin Vega! was responsible for the world's first solid-state amplifier in 1957. KRK Systems began in 1986 as a high-end monitor manufacturer. Stanton DJ was originally founded at Stanton Magnetics in 1946 by Walter O. Stanton, the inventor of the easily replaceable phonograph stylus, and grew into an industry leader in DJ audio equipment.
Henry Juszkiewicz, Chairman and CEO of Gibson Guitar, said, "This new division is perfectly aligned with our core. It expands our reach to fellow music lovers and allows us access to 20 in 20 consumers instead of the one in 20 we currently hit. Stanton produces some of the best pro audio equipment in the world and we're incredibly excited to be working with the very talented team at Stanton as we take Gibson into the future."
Monday, June 20, 2011
The Gibson Classic Interview: They Might Be Giants' Dan Miller
Gibson.com is pleased to present “The Gibson Classic Interview,” where we open our archives and share with you interviews we’ve done over the years with some of the world’s biggest artists. This week, we revisit Courtney Grimes' 2005 interview with Dan Miller of college radio kings, They Might Be Giants.
They Might Be Giants (TMBG). Named after a ‘60s movie with George C. Scott, the underground pop/rock/hint-of-polka group continues to “Flood” the hearts of millions. The group’s core duo, John Flansburgh and John Linnell (The Johns), began their friendship in junior high, but didn’t begin to work together musically until 1981 in Brooklyn.
During the ‘80s, the Johns released their first two albums, their self-titled They Might Be Giants (1985) and Lincoln (1988), which garnered attention from most of the country, and led the Giants to a constant touring schedule (with a guitar and a four-track recorder) as well as their first national TV spot on “The Late Show with 
David Letterman.” By 1990, the Johns signed with Elektra Records and put out their third album, Flood, with the contributions of several guest musicians. Along with the release of Flood, came another flood – They Might Be Giants were becoming alternative college radio superstars, and soon thereafter, expanded their sound to include a full band.
In the meantime, Gibson rocker Dan Miller was flooding stages as well in North Carolina with Lincoln, a band of his own. Lincoln was asked to open for TBMG and after Dan left Lincoln, the Giants asked him to join them. Dan came onboard in 1997, just in time to help propel the Giants to “the hardest working men in show business” status and celebrate the group’s 20th Anniversary in 2002.
Dan, who has just returned from a “Giant” trip to L.A., chats in an online interview about who he’s dating, Devry applications, and his career highlight involving a two-year-old.
How was L.A.?
L.A. was a total gas. Every time we head out there, something exciting and very L.A. happens. We seem to lead very ordinary (thanks the stars) life here in NYC, but for some reason, when we head out west we live these lives that belong to someone else.
We did this taping for MusicChoice at the House of Blues on Sunset. Since I don’t have cable, can someone Tivo it for me? The gig was going along great when the lighting board blew a gasket. As any budding A/V aide knows, lighting is a crucial part of television, without it we would have no idea which Olsen twin was which. So, the show stops dead in its tracks while the crew figures out how to proceed. I’m not sure what the solution was, but I think using a dimmer switch had a lot to do with it. Eventually the show gets up and running again and we had a grand old time. I think it came out very great.
The next evening we did an in-store at Amoeba Music. There were so many people that they had to close the doors, which for a record store can’t be a good thing. For me, that was the highlight of the trip. We’ve been doing some family music recently and it’s great to see parents and their kids boppin’ along while standing in the “New Age Heavy Metal” section of the store. At one point I looked down and a two-year-old was giving me the thumbs up – a career highlight.
How did you come onboard with the band?
The bass player (Danny Weinkauf) and I were in a band called Lincoln. For about 18 months, on and off, we opened for TMBG. I quit the band in Winston-Salem, NC in a scene that can be replicated by watching the hotel outtakes from “The Song Remains the Same.” I believe the hotel still has a lien on my house. I hitched home and was sitting on the sofa filling out applications for the Devry Institute when the phone rang. It was Flans (John Flansburgh) asking me if I wanted to go on tour with the Giants. When I awoke from hitting my head on the ceiling I started learning the tunes.
A Quick aside for historical reason:
I head down to the rehearsal space for my first time playing with the band. For this tour the band had expanded to include horns and the like. I walked into the room, as nervous as could be, and began what has to be the worst audition in the history of music. My nerves were shredded and I couldn’t play a right note to save my life. I think the horn players thought that I’d walked into the wrong room. We took a break and figured if I hurried I could get those Devry applications out that night. As I sat dejected in the corner the Johns came up to me and basically said, hey man, this isn’t an audition, you already have the gig - just relax. The results of those kind words were that I relaxed and played way better for the remaining time. It was a moment of great generosity from the Johns and I remain appreciative to this day.
We went on the road a week or two later and that’s that. I think it was about eight (Good God!!) years ago. It’s been one sweet ride since then.
What is your favorite TMBG song?
It’s hard to have a consistent favorite. I enjoy playing certain songs at certain times. There is acoustic solo in front of “Istanbul (Not Constantinople)” that I really enjoy doing. It’s a chance to work into the show some things that I’ve been working on in private study. The only criterion is that at some point I state the melody to show the crowd where we’re heading. If the tune is going well the band will join in and it becomes this spontaneous composition. When the stars align and I’ve done my finger exercises I think it’s one of the high points of the show as neither we nor the crowd know how it’s going to end up. Occasionally it’s a train wreck, but there is learning in those times, too.
Overall, the songs I enjoy playing are the songs where I can learn something from each performance. One of the great things about TMBG is that we’re all free to try different things on different nights. I have a real problem with repetition, as I get bored quickly. Obviously, you always try to stay inside the music, but beyond that you can try out different things.
And a favorite non-TMBG song?
There’s a lot of music I really dig listening to. Growing up on XTC and the whole British thing, I am glad that their influence is coming back around with this new crop of bands. Beyond that I suspect that I have pretty ordinary tastes in music – I don’t really focus on guitary music, a lot of that is really just an excuse to play your Guitar Center licks. I think musicianship goes behind songwriting and energy – if it’s a good song then I’m on board. I only notice great playing if it comes with a good song. I can’t seem to focus on musicianship if I don’t like the tune.
Tell me about your Gibsons.
I have a few. The one I’m playing a lot these days is the Les Paul Deluxe. I read somewhere that the mini-humbuckers were the replacement for the P-90 - an attempt to pull back on the “my god – who’s buzzing like crazy” that the P’s can have sometimes. True to the word, I find the Deluxe tight, punchy and nicely heavy in the mid-range, like a P-90 but without the sound engineer throwing something at me.
I just did a session where I was playing it. The engineer was planning all these plug-ins and do-dads to help the sound along, but when he heard the tone he just hit record and away we went. The amp was cranked and the guitar really sailed on its own.
I also have an early ‘80s 335. This was my first foray into the world that is Gibson and it’s been a steady friend for many a year. I love the slightly wider neck that allows me to reach stuff that my genetically fat fingers say otherwise. Our tech Robbie has done some very minor enhancements to it so that it feels super comfortable and solid as a rock. I don’t think the neck has moved for ten years.
One big must for a traveling musician is the reliability of your guitars. The last thing you need when you’re on tour is to show up at the gig and have to do a reset or re-intonate the guitar. It’s a real vibe killer that I have had to deal with many times on lesser instruments. Both of these Gibsons have shown to be all-weather friends.
Which one is your favorite?
I’m dating the Deluxe these days.
Do you think it’s been harder, having a more underground following than a mainstream radio fan base?
I think it’s been a total hidden blessing to be an underground band. Although, I do feel that we have peeked our heads above ground occasionally over the years. Survival in the music industry is essentially a myth. Take 10,000 budding musicians, whittle that down to the 2,000 who get to make records, whittle that down to the 20 that actually sell and then whittle that down to the two who can still afford to make music five years down the road.
I think what TMBG have been part of is creating a new way of thinking about what defines success for a band. As the band moves forward I’m constantly amazed at the variety of projects we take on. Everyone knows that the conditions are changing and musicians have to adapt to the new climate. What used to be the charts is now the list of the most popular p2p downloads. The Giants’ natural instincts are to make creative music, regardless of the format or outlet. This may be defined as ‘underground’ but my guess is that this will, or already has, become the mainstream way for working bands. Long live the Underground!
TMBG has been around for over 20 years. In your opinion, how do you keep gaining the attention of young audiences, while keeping the older ones?
This is a question that I’ve been asking myself for many years. It seems like we’re cloning our audience every five or six years. How it happens is a mystery to me, but God bless it. One reason may be what I was talking about earlier. Another, as I pat myself on the back, is the live show. For me, certain things about live music should remain a constant – if you can’t connect to the audience in your own special way, then you need to re-think your show. The Johns are exceptionally good at connecting to the people who come to see the show. Give us a good night without the technical snafus (not that often) and we’ll give you a live experience you’re not likely to find elsewhere.
Another small point is that TMBG is the kind of music you have to seek out and that makes it special. When I was growing up the music that I had to hunt for, the stuff that was not played all over the radio, was the stuff I was, and still am, into most. Music makes up a big part of who I am. Whatever illusions I live under, I don’t want the ‘me’ to be the most popular thing out there.
If you could offer one piece of advice to up-and-coming guitarists, what would it be?
This may sound like a joke, but I know it would work. If you figure out every part Jimmy Page laid down in Led Zeppelin, including leads and rhythm, you will be one the best guitarists in the world. He covers so many styles and still found a way to bring himself into it. The more I listen (and attempt to figure out), the more respect I have. If you manage to do this, let me know, ‘cause you can show me some things. I once read an interview with Elliot Easton and he claimed that every day he figured out at least one new thing. That makes sense to me. Oh yeah – write great songs!!
Friday, June 3, 2011
From Jimmy Page to Bob Dylan: Top Ten Gibson J-200 Greats
By Acoustic guitars don’t often get the respect of their solid body relatives. Les Pauls, SGs and other electric big dogs seem to get all the glory, thanks to their extreme rock-ability. But acoustics are also part of the rock firmament, often holding down the rhythm in classic tunes or barking out the occasional lead six-string break.
Case in point: the Gibson J-200 acoustic guitar. When the model was introduced in 1938, it was the Gibson Company’s fanciest flat top. Initially it was called the Super Jumbo, due to its 16 7/8 inch body. Then the name was streamlined to the SJ-200 a year later. The model sported a double-braced spruce top, a rosewood back and sides, and a sunburst finish until 1947, when the back and sides were changed to maple. And in 1955, the guitar’s name was shorted a bit more to the J-200. Today, Epiphone also makes a budget version of this highly resonant marvel, the EJ-200.
What’s cooler than the J-200’s production history is its musical legacy, which gives the model the kind of rock ‘n’ roll cred that’s normally reserved for the Les Paul or the Flying V.
Here’s a tally of 10 of the greatest J-200 players — each one a reason why this big bodied beauty belongs in the roll call of classic Gibsons:
10. George Harrison: The “Quiet Beatle” employed a J-200 on some of the band’s greatest tracks, including his pop-song opus “While My Guitar Gentle Weeps” from the White Album. George’s J-200 also played a major role in the songwriting for his solo masterpiece, All Things Must Pass.
9. Pete Townshend: Although Townshend was revered for driving Les Pauls and SGs through towers of Hi-Watt and Marshall amps when the Who was making their bid for “World’s Greatest Rock Band” in the late 1960s and early ’70s, Pete — at least until the bicycle accident that broke his wrist — was proudest of his acoustic style. Listening to “Pinball Wizard” and “Behind Blues Eyes,” it’s obvious his right hand is stunning. The sheer textural drive of the former and the artful arpeggiations of the latter are among rock’s finest rhythm guitar performances.
8. Neil Young: Young plays other models, but his J-200 sound was immortalized on side one of his still-amazing 1979 LP Rust Never Sleeps. Young’s natural tone gives “My My, Hey Hey (Out of the Blue)” an ache that’s in perfect counterpoint to its electric counterpart “Hey Hey, My My (Into the Black)” on the album’s second side. And “Pocahontas” and “Sail Away” are remarkably beautiful essays in the effectiveness of one voice and a really good guitar. Of course, having Crazy Horse for a backing band don’t hurt, neither.
7. Ron Wood: The Rolling Stones’ number two guitar man has used a J-200 for most of his acoustic tracks with the band, to the extent that Gibson honored him in 1997 with a signature model distinguished by gorgeous winged inlays and a wraparound pick guard, just like the ’50s model he owned when he first joined the Stones to cut Black and Blue in 1976.
6. Reverend Gary Davis: Okay, the Rev was not a rocker, but his playing style, a highly personalized variation on Piedmont blues, was a profound influence on Bob Dylan, Ry Cooder, Jerry Garcia and Jefferson Airplane’s Jorma Kaukonen, so he deserves to be in this list. And scores of bands have based performances of the gospel classics “Samson and Delilah” and “If I Had My Way” — a Blind Willie Johnson tune that Davis brought to the folk and rock world — on his arrangements. To get an earful of Rev. Gary’s extraordinary, highly filigreed picking style, listen to the reissue compilation Heroes of the Blues — The Very Best of Reverend Gary Davis, which boasts a cool R. Crumb cover illustration.
5. Bob Dylan: First, see the above for the background and you’ll understand some of Dylan’s fondness for the J-200. Then listen to Dylan’s elegant masterpieces Nashville Skyline and Self Portrait. For those albums, Dylan used a vintage J-200 that was given to him as a gift from friend and admirer George Harrison. The guitar has a bottom pick guard with the model’s trademark floral etching, and rings like an angel’s bell on “Girl From the North Country” and “Lay Lady Lay.”
4. Everly Brothers: During the late 1950s and early ’60s, Don and Phil Everly played customized Gibson J-200s on stellar hits like “Bye Bye Love” and “Wake Up Little Suzie.” In 1962, the Gibson Company based the Gibson Everly Brothers model on the J-200, shrinking the body by 7/8-inch, adding an adjustable saddle, and installing mother-of-pearl star inlays down the mahogany neck and extending the double sided pick guards to cover almost the entire width of the guitar.
3. The Edge: It’s hard to dissect the often densely layered textural tracks the Edge creates in the studio, but for a listen to his imaginative acoustic playing check out “ Love and Peace Or Else” from How To Dismantle An Atomic Bomb. The atmospheric lead guitar sound is his vintage J-200 with a slide and effects. No kidding!
2. Emmylou Harris: Harris’ first J-200 was a hand-me-down from her musical partner Gram Parsons, and until recently — when Gibson developed the smaller L-200 for her — she strummed J-200s on all her classic albums including Angel Band (where she’s got Parson’s J-200 in the album’s cover shot) and 1975’s haunting Elite Hotel.
1. Jimmy Page: From Led Zeppelin’s earliest days, Pagey employed a J-200 for most of his acoustic tracks, and it’s fascinating to hear his acoustic technique come to the fore of tunes like “Your Time Is Gonna Come” and “Babe I’m Gonna Leave You” on 1969’s Led Zeppelin. While much is made of his debt to the influence of British acoustic folk pickers like Bert Jansch and Roy Harper, it’s clear that Page’s attack reflects a solid base in electric guitar. The hammer-ons and rippling arpeggios of “Babe I’m Gonna Leave You” in particular are signatures of his electric playing writ into crystalline acoustic lines.