Gibson en Joe Bonamassa Plays 1919 Gibson Style U Harp Guitar — Video <!--paging_filter--><p>Followers of <a href="">Joe Bonamassa's Facebook page</a> know the gear-loving guitarist likes to shoot quick, spur-of-the-moment videos backstage at his shows.</p> <p>These videos usually show him playing rare, oddball or just plain insane stringed instruments. As evidenced below!</p> <p>In one of his latest (although not <em>the</em> latest) backstage videos, Bonamassa is playing a 1919 Gibson Style U harp guitar.</p> <p>"Some backstage fun with a 1919 Gibson Style U harp guitar," Bonamassa wrote on his harp-guitar Facebook post from March 3. "Please keep in mind it was recorded on an iPad and not in Abbey Road Studios. Enjoy!"</p> <p>Harp guitars like this one (we're not sure if it belongs to Bonamassa, who has a lot of rare guitars—and a lot of rare-guitar-owning buddies, it seems) are early relatives modern doubleneck guitars, offering two stringed instruments in one, even though it's played as a single instrument. The top neck sports 10 sub-bass strings (earlier versions had 12 sub-bass strings).</p> <p>For more information on these guitars, visit <a href=""></a> and <a href=""></a> (<a href="">You might as well try here too.</a>)</p> <div id="fb-root"></div> <script>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));</script><div class="fb-post" data-href="" data-width="620"> <div class="fb-xfbml-parse-ignore"><a href="">Post</a> by <a href="">Joe Bonamassa</a>.</div> </div> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-bonamassa">Joe Bonamassa</a> </div> </div> </div> </fieldset> Gibson Joe Bonamassa News Acoustic Guitars Videos Blogs Videos News Gear Fri, 06 Mar 2015 16:14:42 +0000 Damian Fanelli 23675 at Les Paul's 1954 Gibson "Black Beauty" Guitar Sells for $335,500 at Auction <!--paging_filter--><p>Last night, Indianapolis Colts owner Jim Irsay paid $335,500 for a controversial guitar, Les Paul's very own 1954 Les Paul Custom "Black Beauty."</p> <p>According to <em>The New York Times,</em> Irsay's guitar curator, Christopher McKinney, placed the bid at the February 19 auction, which took place at Guernsey's in New York City.</p> <p>“I know there was a lot of negative talk from a few guys who were well respected but look, it’s an important guitar and I’m happy to have it as part of my collection,” Irsay told <em>The Washington Post</em>.</p> <p>The owner of Black Beauty was Tom Doyle, Les Paul's long-time guitar tech, friend and sound man. Doyle also was selling other Les Paul memorabilia through the Guernsey's auction, titled The Tom Doyle Collection, including a prototype Gretsch 6120, called Dark Eyes, that belonged to Chet Atkins. Carrying a pre-auction estimate of $50,000 to $1 million, the Gretsch didn't reach its reserve price and wasn't sold.</p> <p>Notable sales included an RCA 74-B mic with stand ($2,000), a Stevens pickup winder from the Gibson factory that went for $1,600 and Les's DeArmond Tremolo Control, which sold for $1,000. The bargain of the night was probably the Ampex 400 recorder that sold for $500 (all of the other items that did sell went for $500, including Mary Ford's music stand). Nine of the 17 items offered for sale were sold.</p> <p>In the end, however, all eyes were on the Black Beauty.</p> <p>“I don’t believe it’s the “Holy Grail,” Irsay said. “I don’t think there is a Holy Grail, frankly. But it really enhances my collection significantly. And I’m really happy to have it.”</p> <p>"We know the importance of the guitar historically," McKinney told James Barron of <em>The New York Times.</em> “This guitar was used by Les in recordings, in television. It was his main guitar for innovations. It shows his thinking and progress as an inventor. A lot of the things that were done to this guitar went on to become industry standard.”</p> <p>It was reported that McKinney was ready to bid up to $625,000 for the '54 Custom.</p> <p>Pre-auction press about Black Beauty was rampant, and some sale estimates for the guitar were in the strata of $1 million or more.</p> <p>The guitar also stirred up quite a debate in vintage circles, as well as in two critical stories by <em>Washington Post</em> reporter Geoff Edgers. <em>Guitar Player</em> magazine was called out for calling Black Beauty "The Grail" and for stating the 1954 Custom was the "genesis of all Les Paul guitars to follow." </p> <p>According to Mike Molenda, <em>Guitar Player</em>'s editor in chief, the magazine stood by calling Black Beauty "The Grail," due to its early and essential importance in Les Paul's experimentation for his ultimate sound, as well as some "corrections" to elements that Les was not happy with on the original 1952 Les Paul goldtop. Les apparently had threatened to take his name off of the guitar, had Gibson's Ted McCarty and others at the Gibson factory not come up with something he wanted to play for the early 1953/1954 Les Paul Custom prototype (which was made "custom" for Les—though some called it a "pre-production" model).</p> <p>However, <em>Guitar Player</em> apologized to readers for fumbling the "genesis" issue in the April 2015 issue of the magazine. While GP still feels Doyle had some compelling data here, vintage guitar experts took issue with the specifics, and we have invited the Les Paul Legacy series author, Robb Lawrence, to provide a historical timeline in our April 2015 issue to clarify the Les Paul guitar's production.</p> <p>“I think we can take a lot of little things from this,” said Tom Wittrock, co-owner of the Les Paul Forum, in the post-auction article filed by Edgers for <em>The Washington Post</em>. “One, I don’t think it was worth getting worked up. Two, the method of marketing it, it didn’t help. I don’t know if it hurt, but I don’t think it helped.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/les-paul">Les Paul</a> </div> </div> </div> </fieldset> Gibson Les Paul Tom Doyle Videos News Fri, 20 Feb 2015 17:07:57 +0000 Guitar World Staff 23559 at Is Les Paul's Gibson Black Beauty Guitar the "Holy Grail"? Join the Debate <!--paging_filter--><p><em>Guitar Player’s</em> February 2015 issue features a cover feature about Les Paul’s 1954 Black Beauty. </p> <p>For those unfamiliar with the story, the Black Beauty is the very guitar on which Les performed many modifications over the years as he sought to improve upon Gibson’s original design.</p> <p>In writing about the guitar, <em>Guitar Player</em> interviewed Tom Doyle, the man who was Les Paul’s guitar tech for many years and the current owner of the Black Beauty. </p> <p>In the course of the story, Tom makes a number of claims for the guitar’s importance as “ground zero” for the modern Les Paul guitar. Among the changes Les made were an improved neck pitch, stop tailpiece and lower action. </p> <p>Unfortunately, those claims didn’t sit well with some of the leaders of the vintage guitar world. </p> <p>In a <a href="">Washington Post article on the guitar that ran February 6,</a> noted Nashville vintage guitar dealer George Gruhn thundered, “That article is absolute bull, and the whole thing’s as crooked as can be. It’s an attack on everything I’ve worked on for over the last 50 years.”</p> <p>Likewise, Tom Wheeler, the former editor of <em>Guitar Player</em>, sent out an email to many in the industry, as well as Doyle, saying that the article contradicts everything “we know about the development of the Les Paul.”</p> <p>Guitarist Steve Miller has come to Doyle’s defense. Miller, who it should be noted is Les Paul’s godson, said to the <em>Post</em>, “Is Tommy hyping it up a little bit? Hell, yeah. But is this guitar an important guitar? It’s an electric guitar, it’s made by Gibson, and it was Les’s guitar. That’s what makes it a great guitar.”</p> <p><strong>Rather than weigh in on the debate, we thought we’d leave it to you. Check out <em>Guitar Player’s</em> story <a href="">right here,</a> and let us know what you think.</strong></p> <p>Incidentally, Doyle’s guitar goes on the auction block February 19, so we will soon find out what it’s worth. Stay tuned.</p> <p><img src="/files/imce-images/black_beauty_main_GW.jpg" width="620" height="350" alt="black_beauty_main_GW.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/les-paul">Les Paul</a> </div> </div> </div> </fieldset> Gibson Les Paul News Mon, 09 Feb 2015 22:32:42 +0000 Guitar World Staff 23467 at Gibson Custom Introduces Collector's Choice #26 1959 Les Paul "Whitford 'Burst" Guitar <!--paging_filter--><p>In his unwavering pursuit of success, particularly through the challenges of Aerosmith’s early years, Brad Whitford displays a kinship to the ultimate tenacity of the Les Paul design: the time-will-prove qualities and heroic achievements of a guitar that wasn’t fully appreciated until half a decade after it was deleted from the Gibson catalog. </p> <p>In both cases, time proved that commitment can outwait fleeting opinion, and that talent and craft are ultimately undeniable. The end result: Aerosmith became one of the world’s most important rock’n’roll bands, and the Les Paul became the most significant guitar in rock history.</p> <p>Brad’s original 1959 Les Paul is an absolute tone-monster, and a guitar of exceptional feel and authentic, road-worn patina—not to mention the long-time favorite playing companion of a major hit-making artist—so when he offered it up for Gibson Custom’s Collector’s Choice series, the opportunity resonated on every level. </p> <p>Following the side-by-side collaboration between Brad and Gibson Custom’s Nashville luthiers, Collector’s Choice #26 1959 Les Paul “Whitford Burst” captures every nuance of look, tone, and feel of Brad’s original, from its individual neck profile, to the output of its original PAF pickups, to the dents, dings, and finish fade that are all part of its “just right” vintage Burst appearance, this is the closest you could possibly come to owning Brad’s actual ’59 Les Paul, and a truly stunning acquisition for player and collector alike. </p> <p>Collector’s Choice #26 will be crafted in a strictly limited run of 300 guitars (with qualifying materials ultimately determining the final number), so reserve yours now at your authorized Gibson Custom dealer.</p> <p>For more about this guitar, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/aerosmith">Aerosmith</a> </div> </div> </div> </fieldset> Aerosmith Brad Whitford Gibson Gibson Custom Electric Guitars News Gear Wed, 12 Nov 2014 22:59:54 +0000 Guitar World Staff 22855 at Gibson Introduces Robby Krieger 1954 Les Paul Custom Guitar <!--paging_filter--><p>Robby Krieger’s 1954 Les Paul Custom became a constant writing companion, workhorse, performing partner, muse and musical soul mate all rolled into one right from the time he acquired it used in 1968. </p> <p>Nicknamed “L.A. Woman” after its use on that classic track by the Doors, it contributed to many unforgettable hits, and remains in Robby’s possession to this day, a tried and true companion to a career that has continually evolved and inspired over decades. </p> <p>Now, through a close collaboration between Robby and Gibson Custom, a very limited number of hand-crafted replicas of the Robby Krieger 1954 Les Paul Custom will be made available to discerning collectors and players. Full and unrestricted access to the original guitar has yielded Gibson Custom’s luthiers the means of precisely recreating the feel, look and tone of this legendary instrument. </p> <p>And to take it all over the top the first 50 guitars—hand aged by Gibson—will also be played, approved and signed by Robby himself. A further 100 hand-aged guitars will be produced, with the final 150 of the run treated to Gibson Custom’s proprietary VOS process.</p> <p>Every Robby Krieger 1954 Les Paul Custom is recreated based on hands-on examination, digital scanning, intimate photography, measurement, and study of Robby Krieger’s 1954 Les Paul Custom to insure a playing experience that’s as close to the original as humanly possible. </p> <p>Notable details include the closely matched dish carve and neck profile carve, the accurate ebony fingerboard with aged pearl block markers, accurate vintage multi-ply binding, after-market Seymour Duncan neck pickup, and painstaking hand aging (150 examples) to match every ding, scuff and check line found in Robby’s guitar. In short, the Robby Krieger 1954 Les Paul Custom puts a guitar that would normally be untouchable into the hands of a limited number of discerning players. Reserve yours now at your authorized Gibson Custom dealer.</p> <p>For more about this guitar, including photos and specs, visit <a href=""></a>.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> Gibson Gibson Custom Robby Krieger The Doors Electric Guitars News Gear Wed, 12 Nov 2014 22:42:33 +0000 Guitar World Staff 22854 at Gibson Introduces Seven-String Les Paul Classic Guitar <!--paging_filter--><p>Gibson has introduced its new Les Paul Classic 7 String — the first ever seven-string Les Paul.</p> <p>From the company:</p> <p>For too long the luthiers at Gibson have reserved the seven-string guitars for other popular models like the Flying V and Explorer, but no longer! </p> <p>The Les Paul Classic 7-String is here to lay down the low down for the single-cut rock machine, with superb power and versatility, and all the iconic looks that made the Les Paul a Classic in the first place. </p> <p>The mahogany body with traditional weight-relief and carved maple top form the foundation, while the glued-in mahogany neck with one-piece rosewood fingerboard all stick to the 24.75” scale length for the playing feel you’ve come to love. A Seymour Duncan ’59+ in the neck position and hot JB in the bridge blast out scorching humbucker tones, with push-pull coil splitting for brighter single-coil sound, and there’s an onboard 15 dB Turbo Boost when you really need to blow the house down. </p> <p>The popular SlimTaper neck profile helps you maintain speed and playing ease across the full seven strings, and feels great from low-string riffing to high-fret wailing. The Les Paul Classic 7-String comes protected in a Vintage Brown Gibson hardshell case.</p> <p>Check out the photo gallery below, and <a href="">head here for more information</a>, including specs 'n' such.</p> Gibson Electric Guitars News Gear Mon, 13 Oct 2014 15:55:56 +0000 Guitar World Staff 22567 at Buckcherry Guitarist Keith Nelson Talks New EP, 'Fuck,' and His Gibson Collector’s Choice Les Paul <!--paging_filter--><p>Never a band to play by the rules, Buckcherry have made a career out of pushing the boundaries — and buttons — of conventional rock while doing things their own way. It’s a strategy that has paid off with successful studio albums and singles over the last decade. </p> <p>Buckcherry’s boldest and perhaps most controversial release to date might be <em>Fuck</em>, a new EP that unapologetically rattles the speakers as much as it will the censors. </p> <p>The new EP, which will be released August 19, consists of six hook-laden tracks that feature guitarist Keith Nelson’s gritty riffs and vocalist Josh Todd’s sharp-tongued lyrics — including an unconventional yet tasty spin on Icona Pop’s hit song “I Love It," which the band has (naturally) renamed “Say Fuck It."</p> <p>Buckcherry — Josh Todd (lead vocals), Keith Nelson (lead guitar), Stevie D. (rhythm guitar), Xavier Muriel (drums) and Kelly Lemieux (bass) — will soon team up with Godsmack, Seether and Skillet for this year’s Uproar Festival, which kicks off August 15 in Detroit, Michigan. </p> <p>Meanwhile, Nelson has contributed “Louis,” one of his original 1959 Les Pauls, to the Gibson Custom Shop, where the staff has painstakingly analyzed every detail of the guitar's look, sound and wear to create a near-perfect replica for Collector's Choice #17. You can see a photo of Gibson's version of the guitar in the gallery below.</p> <p>We recently caught up with Nelson to discuss the new EP and the process behind the making of his “new” Les Paul.</p> <p><strong>GUITAR WORLD: How does a project like <em>Fuck</em> begin?</strong></p> <p>Even before our last record [<em>Confessions</em>], we had been toying around with the idea of doing an EP. It just kept creeping back, and this was finally the right time to do it. The concept was pretty straightforward. It started out with just a bunch of guys sitting on the tour bus saying, "Hey, wouldn't it be cool to do an album called <em>Fuck</em> and have every song on the album have ‘fuck’ in it?” [laughs]. Then after all of the laughter died down, we just said, "Yea, why not? Let's do it!" </p> <p><strong>How would you describe the sound of the EP?</strong></p> <p>It’s raw, guitar-driven rock and roll. We recorded most of it live to tape in my living room studio, so it’s very analog. All of these songs were written with the five of us standing around in a circle looking at each other, and I really wanted the recordings to convey that live-sounding vibe.</p> <p><iframe src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" height="450" width="100%" frameborder="no" scrolling="no"></iframe></p> <p><strong>Can you tell me a little about the writing process?</strong></p> <p>After we had finished working on <em>Confessions,</em> I was still writing and collecting ideas. Then as the tour began to wind down, I started demoing up those ideas and gave them to Josh. Whenever we found ourselves having a few days off, we would all get together in a room and work out the songs. Lyrically, the responsibility for injecting "fuck" into every song came down to Josh. And, of course, he was up to the task! [laughs]. </p> <p><strong>What made you decide to do a take on Icona Pop’s “I Love It”?</strong></p> <p>That was Josh’s idea and was actually the first song we did. Josh listens to a lot of pop radio and when he heard that song, he said "Man, we could really put our own spin on that thing!” He then put it to me to make it sound more like us. So I made it a bit more exciting for guitar players.</p> <p><strong>What can you tell me about the song “The Motherfucker”?</strong></p> <p>That one is straight-up, vintage Buckcherry. As a guitar player, it's a riff in "A." It happened more out of a jam. Once Josh started singing, we all just started jamming on it.</p> <p><strong>How did your recent relationship with Gibson come about?</strong></p> <p>Gibson’s been doing what's known as a Collector's Choice Series. It’s where they find the owner of an original 1959 Les Paul and then go to great lengths to recreate the guitar. I'm fortunate enough to be the owner and player of one of those guitars, so when my name came up, Gibson asked me if they could do it. I supplied my guitar, and they put it through a series of intensive scannings and 3D computer imaging. Basically, they made a replica of the real thing. It's crazy how accurate they got most of it.</p> <p><strong>What first attracted you to vintage guitars?</strong></p> <p>From the moment I started playing guitar, I’ve known that used ones were always less expensive than the new ones. But one day, I happened across a music store where the guy behind the counter was telling me all about how much better the older guitars sounded. Then I started looking around at all of my heroes — Jimmy Page, Paul Kossoff and Joe Perry. All of them were playing the old ones. I got the bug early on and have been collecting for more than 20 years. </p> <p>At one point, I traded the majority of my collection for my first real 1959 Sunburst Les Paul. Then once I got that first one, I had to find one that was a little bit better. Eventually, I found the one that was perfect for me. I've had the guitar for a number of years now. It's called "Louis," and it's the one Gibson recreated.</p> <p><strong>In your opinion, what makes vintage instruments so much better?</strong></p> <p>“Better” is in the eye of the beholder but for me, there’s something magical going on with the age of the wood, the magnets, the wires and the finish. All of that goes together in a way that you really can't explain. When you're got it in your hands, you just know it. I still take Louis on the road with me and play him every night. I can actually play the entire set with it and it will not go out of tune. It's crazy how great that guitar is.</p> <p><strong>Besides Louis, what else is in your live setup?</strong></p> <p>I've got a few other vintage guitars out here with me now. I've got a 1957 Les Paul Junior that I use for all of the open-tuning stuff I do. I’ve also got a '54 Jeff Beck Les Paul Oxblood re-issue from Gibson, which is another phenomenal guitar. Amp-wise, I'm using a 1971 50-watt Marshall. I use the newer Marshall stuff when we travel abroad, but here in North America, I'm driving around with a couple of old heads and guitars. You know, just some old junk! [laughs].</p> <p><strong>Growing up, what inspired you to start playing?</strong></p> <p>I started out as a drummer and around age 17 made the switch to guitar. I got a little bit of a late start, but my original goal was to play guitar to write songs.</p> <p><strong>Speaking of songs, can you tell me the origin of “Crazy Bitch”?</strong></p> <p>Writing "Crazy Bitch" was the best five minutes of my life [laughs]. I remember Josh called me up one day and said, "Hey, I've got this song idea!” So he sings the chorus to me and says, "It just needs to have some funky music with some space in it. Do your thing!" So I sat down with a drum machine and a four-track recorder and came up with the music. The next day, Josh came in and I said, "Sing it over this!" He listened to what I wrote and said, "That's fucking awesome!" Then he sang the lyrics on the spot. Literally, it took five minutes. You can't plan for stuff like that. It just kind of happens — and I'm glad it did.</p> <p><strong><em>For more about Buckcherry, visit <a href=""></a> and follow them on <a href="">Facebook.</a></em></strong></p> <p><strong><em>For more about Gibson's Collector’s Choice #17 guitar, visit <a href=""></a></em></strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/buckcherry">Buckcherry</a> </div> </div> </div> </fieldset> Buckcherry Gibson James Wood Keith Nelson Interviews News Features Tue, 12 Aug 2014 17:09:56 +0000 James Wood 22092 at Gibson Introduces ES-Les Paul Guitar: "The Ultimate Marriage of Solid and Semi" <!--paging_filter--><p>Gibson has introduced its new ES-Les Paul guitar.</p> <p>From the company:</p> <p>The solidbody Les Paul Standard and semi-acoustic ES-335 are the two most influential electric guitars ever to hit their respective genres. </p> <p>Now Gibson brings them together in the ES-Les Paul, a stunning "meeting of minds" that blends the most important aspects of form and function from two immensely popular designs. Far more than merely a “chambered Les Paul” or an ES-335 "shaped like a single-cut", this entirely new guitar is the result of painstaking assessment of what makes each of these legendary models great, and a careful marriage of features by the skilled luthiers at Gibson Memphis.</p> <p>With its laminated maple top, back and sides in the semi-acoustic construction of the ES-335, and a solid mahogany center block for enhanced sustain and feedback reduction, the ES-Les Paul elegantly marries the major characteristics of these two great Gibson guitars.</p> <p>Take away the telltale f-holes and the look is pure Les Paul, as is the glued-in mahogany neck with rosewood fingerboard and classic trapezoid inlays and LP-style headstock. Common to both—and carried through on the ES-Les Paul—are the traditional control section, toneful hardware, and dual humbucking pickups, a pair of MHS (Memphis Historic Spec) Humbuckers wound to accurately replicate the sonic glories of vintage PAFs. </p> <p>Get it in a your choice of Black top w/ historic walnut stained back and sides finish, or Light Burst finish with figured maple top and historic walnut stained Back and sides.</p> <p>Check out the photos below. For more information, visit the guitar's page on <a href=""></a></p> Gibson Electric Guitars News Gear Wed, 11 Jun 2014 15:13:17 +0000 Guitar World Staff 21520 at 'The Beauty of the Burst' Tells Story of 1958, 1959 and 1960 Gibson Sunburst Les Pauls <!--paging_filter--><p>Finally, the long-awaited English edition of <em>The Beauty of the 'Burst</em> (Hal Leonard), an historic Japanese book, is here! </p> <p><em>The Beauty of the 'Burst</em> pays tribute to Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960, the most highly prized solidbody electric guitars of all time. The magnitude of their value is directly related to their look (outrageous wood patterns, or figured timber), since non-players are paying top dollar for them. </p> <p>The book features lavish full-color photos of these beautiful instruments throughout; the guitars of famous players; a foreword by Ted McCarty; a bio of the author, world renowned collector Yasuhiko Iwanade; and the Science of the Burst section with more than 30 pages of detailed reference facts on every facet of the guitar, including colors, wood figure, pickups, hardware and qualities of voice. </p> <p>This may be the closest guitarists will ever be able to get to these incredibly collectible beauties!</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BeautyBurst">The softcover book is available now at the Guitar World Online Store for $34.99.</a></strong></p> <p><img src="/files/imce-images/lespaul.jpg" width="620" height="828" alt="lespaul.jpg" /></p> Gibson News Features Thu, 15 May 2014 16:19:33 +0000 Guitar World Staff 16979 at Gibson Introduces Memory Cable with Built-in Recorder <!--paging_filter--><p>Gibson has introduced the Memory Cable, a 16-foot cable with a built-in, solid-state recorder designed by TASCAM’s engineers.</p> <p><a href=";utm_medium=email&amp;utm_campaign=Gibson%20Guitar%20Corp.&amp;utm_content=Editorial+eBlast+-+May+6%2C+2014">From the company, courtesy of Craig Anderton:</a></p> <p>Inspiration is fragile. Remember those songs you lost when you couldn’t record an idea in time, the great riff that came and went or the computer crash that trashed an awesome solo?</p> <p>The Memory Cable would have remembered. It’s a personal backup service that runs constantly in the background. Plug the cable into your guitar, press a button, and the cable records everything you play. It’s that simple.</p> <p>If you play something you like, press a button to close the existing file and start recording a new one. That way you’ll always know your best inspirations are at the file’s end.</p> <p>Total recording time is more than 13 continuous hours with the included 4GB microSD card, but a second mode can record only while you’re playing. The uncompressed, WAV-format files feature 44.1kHz, 16-bit resolution; thanks to the studio-quality A/D converters, if you record a “keeper” you can bring the file into any recording software then build the song from there.</p> <p>Although the Memory Cable doesn’t play back by itself, transferring files to a computer is easy. Most card readers can read a microSD card, and the Memory Cable includes a microSD-to-SD adapter (most computers have SD card slots). Many smartphones can also read a microSD card, as well as transfer the card data over USB.</p> <p>Battery life is eight hours from a rechargeable or standard AA battery, but there’s also a small battery that, while not necessary for operation, lasts for a year and powers an internal clock to time-stamp your files.</p> <p>What’s best about the Memory Cable is that you’ll always have it at your fingertips; you need to use a cable anyway. You don’t have to grab a box, find another patch cable, hook it up and navigate an operating system. The Memory Cable also works with keyboards, bass, electronic drums and more. And it’s ideal for re-amping.</p> <p><strong>For more information about the Memory Cable, visit <a href=""></a>.</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-05-12%20at%2011.51.59%20AM.png" width="620" height="418" alt="Screen Shot 2014-05-12 at 11.51.59 AM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-05-12%20at%2011.51.42%20AM.png" width="620" height="293" alt="Screen Shot 2014-05-12 at 11.51.42 AM.png" /></p> Gibson Accessories News Gear Mon, 12 May 2014 16:29:14 +0000 Guitar World Staff 21225 at Interview: A.J. Croce Talks New Album, 'Twelve Tales' <!--paging_filter--><p>For his eighth studio album, <em>Twelve Tales</em>, A.J. Croce (son of legendary songwriter Jim Croce) took on a recording approach that was ambitious, if not downright challenging. </p> <p>Recorded with a multitude of legendary producers across a variety of American cities, the songs represent a patchwork of styles and influences, making <em>Twelve Tails</em> a sharply written and effortlessly performed blend of Americana and folk rock. </p> <p>Among the A-list team of producers is "Cowboy" Jack Clement (Elvis Presley, Johnny Cash), Kevin Killen (Elvis Costello, Peter Gabriel), Allen Toussaint (Dr. John, Paul McCartney), Mitchell Froom (Crowded House, Los Lobos), Tony Berg (Fiona Apple, Bob Dylan), and Greg Cohen (Tom Waits, John Zorn). </p> <p>Croce also collaborated with Leon Russell for the song “Rollin’ On.”</p> <p>The album-making process took Croce across the far reaches of the US; from New York to Nashville, and from New Orleans to Los Angeles. The result is “like a cohesive collection of six 45's,” suggests Croce.</p> <p>Below, we sit down with A.J. Croce to discuss <em>Twelve Tails</em>, his songwriting process, gear and more. </p> <p><strong><em>To record Twelve Tales, you traveled across the country and worked with six separate producers – a pretty nontraditional approach for today's standards. How did this process help to shape the record?</em></strong></p> <p>Each producer brought a different talent and approach. The common thread between them all (beside me) was that all of them pursue new and creative ways to recording and always remain open minded. There is almost always an unexpected aspect in a session and all of these producers embrace the happy accident, be it a change of arrangement, key change or tempo change. Sometimes I'd switch instruments and that would turn a song upside down.</p> <p>Check out the music video for “Right on Time” from <em>Twelve Tails</em> below:<br /> <iframe width="620" height="349" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong><em>How did you determine the songs each producer would work on?</em></strong></p> <p>I didn't choose the songs for <em>Twelve Tales</em>, the producers did. I sent between 15 and 20 raw iPhone demos to each producer and they chose their favorite. As two songs got recorded, I'd write two more so that everyone had a lot to choose from.</p> <p><strong><em>Tell us about the tune “Rollin’ On” which you wrote with Leon Russell. How did that collaboration come about?</em></strong></p> <p>I've opened for Leon over the years and we sort of bonded over old rock ‘n’ roll, R&amp;B and gospel music about 10 years back on Willie's bus. I got a call that Leon wanted to write, so I wrote the music and chorus to “Rollin' On” in a sort of carny-inspired style and emailed it to Leon. </p> <p>About an hour later I got five or six verses to choose from. The next day we did it again with a new song. I honestly didn't think it would end up on this album, but Allen Toussaint chose it and I couldn't argue with recording a song that two of my musical heroes were involved in. I work hard everyday on music but few things beat good luck.</p> <p><strong><em>Can you describe your typical songwriting process?</em></strong></p> <p>It's usually a simple process; I pick up an instrument and play. I think about what story the music is telling and write the lyrics. There is an editing process, if I like the song, I try it out live, and if the audience likes it then it gets recorded. </p> <p>A small percentage of the songs I write ever get heard, and fewer get recorded. Even fewer make it on an album. I find that there are certain stories that I try to tell in a song and it may take many variations before I'm really satisfied. On the other hand, a fully formed song can appear from the ether in 20 minutes without the need for a single change.</p> <p><strong><em>We'd love to hear about your acoustic guitar. It originally belonged to your father, right?</em></strong></p> <p><img src="/files/imce-images/ajcroceguitar.jpg" width="200" height="357" align="left" style="padding:10px 20px 10px 0;" alt="ajcroceguitar.jpg" />"The Acoustic" is a 1933 Gibson LO that my father acquired in a trade for a banjo in the early ‘60s. It's a 14 fret model. He changed the tuners to Grovers but otherwise it's all original. It has a V neck that feels perfect and is completely even both volume and tuning-wise up the neck. </p> <p>I have a couple friends (Joe Henry and Val McCallum in particular) who, like myself are freaks for this year and model. I have many beautiful instruments but this is without a doubt my favorite guitar in the world. My dad gave it to my mom around 1967, though he continued to write on it and record all his songs on it. Most of the first two albums were written on this guitar, including the songs “Time In A Bottle,” “Operator,” “Leroy Brown” and “Don't Mess Around with Jim.” </p> <p>This guitar is light and incredibly balanced. My friend Bill Lloyd was helping to curate the instruments at the Country Music Hall Of Fame when I lived in Nashville. He came by one day, picked it up and said it was the most balanced instrument he'd ever held, that it felt like it was floating.</p> <p>I've played it on my last few albums, and you can hear it well on "What Is Love" from <em>Twelve Tales</em>.</p> <p><strong><em>What’s in store for your for the rest of 2014?</em></strong></p> <p>With the release of <em>Twelve Tales</em>, I'll be touring though most of the year. That said I'm looking forward to a lot of new creative adventures, writing songs, recording for other people's projects and producing music. I can't wait for whatever comes next.</p> <p>Keep up with A.J. Croce at <a href=""></a>.</p> A. J. Croce acoustic guitar Acoustic Nation Gibson Jim Croce Interviews Blogs Mon, 17 Mar 2014 23:29:45 +0000 Tom Gilbert 20747 at Video: Dan Clews Plays "Take One Away" on a 1950 Gibson J200 <!--paging_filter--><p>An Americana track with a tinge of British landscape, "Take Me Away" tackles the longing to be on the road and the wish to return home.</p> <p>It’s a simple strummed track with a few melodies embedded in the chords. It requires a big sounding guitar so my eye went straight to this 1950 Gibson Super Jumbo 200 Natural. </p> <p>Maple all around, it sounds boxy like a railroad car, crisp and woody with haunting back tones. Think Nashville skyline.</p> <p>Emmylou Harris won't be seen without one, certainly a guitar that I’d love to have in my arsenal. It really suits this song and was a dream to play. </p> <p>Check it out here:<br /> <iframe width="620" height="349" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Dan Clews is a British born singer/songwriter from Sevenoaks, Kent, England. He has toured in support of Level 42 that culminated with a performance in front of 5,000 people at a sold out Royal Albert Hall. The first video from his album, </em>Tourist in My Own Backyard<em> is titled ‘That’s Enough For Me’ and features Clews driving around the Kent countryside 1950’s Triumph Tiger Cub with leather cap and gloves to match! George Martin Music Publishing has signed an admin deal with Eagle iMusic (the new publishing arm of Eagle Rock) who will now work closely with Clews on syncs and exploiting his extremely commercial catalogue of songs. Find out more at <a href=> </a></em></p> Acoustic Nation Dan Clews Gibson Blogs Videos Mon, 17 Mar 2014 06:19:45 +0000 Dan Clews 20729 at Gibson Introduces Limited-Edition 1965 Donovan J-45 Guitar <!--paging_filter--><p>Gibson has introduced its new limited-edition 1965 Donovan model J-45 acoustic guitar. The guitar is based on the Gibson J-45 Donovan bought on Sunset Boulevard in the mid-Sixties. </p> <p>"I wrote every song on it from late 1965 into ’70, when it was stolen during a college-town gig," Donovan told <em>Guitar World</em> last month. </p> <p>This meticulously recreated J-45 honors Donovan and the music he created on the original guitar — and bear in mind, we're talking about rock classics that include "Sunshine Superman," "Season of the Witch," "Mellow Yellow," "Wear Your Love Like Heaven," "Hurdy Gurdy Man" and many more. </p> <p>The body radius, neck, finish and Sixties-style adjustable bridge were carefully recreated in order to build a custom-shop signature model for one of the most influential singer-songwriters of the last century.</p> <p>The guitar features the LR Baggs Lyric acoustic guitar microphone, an amplification system featuring a bridge-plate-mounted, featherweight microphone. You can check out <em>Guitar World</em>'s review of the Lyric system <a href="">right here.</a></p> <p>Labels on the guitars are personally signed by Donovan; all his proceeds from the guitar will be donated to teaching transcendental meditation. The guitar was built in Bozeman, Montana.</p> <p>"I was speaking to Peter Leinheiser from Gibson two years ago, and I said, 'My little J-45 still hasn’t turned up'," Donovan said. "I think he said, 'You’re being inducted into the Rock and Roll Hall of Fame. Why don’t we make you one?'”</p> <p>For the rest of this conversation (during which Donovan discusses the guitar, his picking style, working with Jeff Beck, Rick Rubin, Jimmy Page and more), check out the "Dear Guitar Hero" feature in the upcoming May 2014 issue of <em>Guitar World</em> magazine.</p> <p>For more about Donovan — and his guitar master classes — visit <a href=""></a>. For more about the limited-edition Donovan J-45, check out the specs below and visit <a href=""></a></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-12%20at%201.59.03%20PM.png" width="620" height="353" alt="Screen Shot 2014-03-12 at 1.59.03 PM.png" /></p> <p><strong>GIBSON DONOVAN J-45 SPECS:</strong></p> <p><strong>Body style</strong>: J-45 series, with a Sixties period-correct radiused body<br /> <strong>Wood</strong>: Sitka spruce top, mahogany back and sides<br /> <strong>Binding</strong>: Multi-ply top, single-ply back, multi-ply double-ring rosette<br /> <strong>Finish</strong>: Period-correct Cherry Sunburst, Nitrocellulose Lacquer<br /> <strong>Electronics:</strong> <a href="">LR Baggs Lyric microphone</a><br /> <strong>Strings</strong>: Gibson light gauge .012-.053; <a href="">La Bella Silk &amp; Steel</a> strings are included in the case<br /> <strong>Tuning machines</strong>: Vintage-style white button, 15:1<br /> <strong>Pickguard</strong>: Tortoise Fifties-style pickguard<br /> <strong>Bridge</strong>: Traditional rosewood belly up with adjustable saddle<br /> <strong>Scale</strong>: 24 3/4”<br /> <strong>Fingerboard</strong>: 12-inch radius rosewood with MOP dot inlay<br /> <strong>Nut width</strong>: 1.725” bone<br /> <strong>Neck-to-body</strong>: Compound dovetail secured with hide glue at the 14th fret<br /> <strong>Neck</strong>: One-piece mahogany</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Acoustic Nation Donovan Donovan Leitch Gibson LR Baggs News Gear Acoustic Guitars Interviews News Gear Wed, 12 Mar 2014 18:28:02 +0000 Damian Fanelli 20713 at Demo Video: Gibson 2014 Les Paul Traditional Model Guitar <!--paging_filter--><p>Guitar Center recently started creating "product spotlight" demo videos for gear that happens to be available at their stores. </p> <p>Case in point, this new demo video for Gibson's 2014 Les Paul Traditional model guitar.</p> <p>The video provides a wealth of information about the new model, which features a mahogany neck with a late-Fifties profile. The body features a maple top and mahogany back. </p> <p>For more information, check out the video below and visit this model's page at <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Gibson Guitar Center Videos Electric Guitars News Gear Tue, 18 Feb 2014 17:59:05 +0000 Guitar World Staff 20503 at Video: Gibson Pulls Broken-Guitar Prank at 2014 Winter NAMM Show <!--paging_filter--><p>Gibson was in a pranky mood at this year's Winter NAMM Show.</p> <p>You might remember the video we posted last week, where Gibson stuck a new Gibson Double Diamond series guitar into an empty display space in the Fender room. If not, <a href="">you can refresh your memory here.</a></p> <p>For this latest prank video, which was posted February 10, Gibson built a Double Diamond replica guitar that easily falls apart. Prank victims include Christopher Lloyd (as in Christopher Lloyd the actor from <em>Taxi</em>, <em>Star Trek III: The Search for Spock</em> and <em>Back to the Future</em>), plus the Vim Dicta, Tyler Ward and Alex G. </p> <p>The clip was filmed in the "back stage" area at the Gibson room at NAMM — the sort of place where'd you expect to see well-known actors, etc.</p> <p>Enjoy and/or tell us what you think of the prank!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Gibson NAMM 2014 Videos News Fri, 14 Feb 2014 16:56:50 +0000 Damian Fanelli 20491 at