Gibson is revived a totem of 1970s rock with the limited edition 1971 Flying V Medallion Reissue.

The '71 Flying V Medallion has been described by its maker as "one of the most sought-after and historically significant guitars ever produced by Gibson" – and for good reason.

It was a standout in the early hard rock era. Michael Schenker, with his black and white Medallion, quickly became the guitar’s poster boy. Kirk Hammett also has close ties to the model.

The reissues’s recipe is, of course, an echo of the past, with a two-piece mahogany body, three-piece mahogany neck with volute, and a 22 medium jumbo fret rosewood fingerboard and corian nut.

But there’s a touch of premium exclusivity to boot: the guitars each feature individually numbered 1.5” gold medallions.

Tonally, it has a pair of authentic unpotted 1968 T-Top humbuckers with Alnico 5 magnets. They’re flanked with two Volume and one Tone knob, and a three-way selector.

Hardware specs, meanwhile, include an ABR-1 Tune-O-Matic bridge with Stop Bar, Kluson Deluxe tuners, and Black Witch Hat control knobs. Its pickup covers are chrome.

Handcrafted in Nashville, the body features a thinner two-piece mahogany design to mirror the original. The guitar is said to simultaneously deliver reduced weight and premium resonance and sustain.

The Flying V Medallion was originally created to commemorate the 1972 Olympic Games in Munich, Germany, with an estimated run of 350 models produced. That makes it one of the rarest Gibsons around town, which only added to the mythos of Schenker’s monochrome companion.

“The 1971 Flying V Medallion holds a special place in Gibson history,” says Mat Koehler, Vice President of Product at Gibson.

“As one of Gibson’s earliest limited-edition instruments, it helped establish a lasting legacy within hard rock guitar culture. This reissue brings back the details, feel, and sound of the original, giving players the opportunity to experience an iconic instrument.”

Speaking to Gibson Gazette, Kirk Hammett, who now owns Schenker’s #56 V, likened it to a “religious relic.”

“I spent so much time as a teenager just staring at this guitar on the back of UFO’s Force It album,” he says. “There’s a picture of Michael Schenker playing this very guitar – it’s red, you can see the medallion – and I used to stare at the guitar and go, ‘I need to get a Flying V.’ Little did I know that, decades later, I would have the very Flying V that I was staring at.”

The Gibson Custom 1971 Flying V Medallion Reissue is priced at $4,999/£4,399.

See Gibson for more.

Dave Mustaine may forever be associated with the iconic Flying V shape, with a roster of signature models under his belt that help cement his position as one of the main metal men of the Flying V.

Yet, in a 2023 Guitar World interview celebrating 40 headbanging years of Megadeth, Mustaine revealed why he initially didn't gravitate toward this particular model and design – and why, eventually, adopting it was a no-brainer.

“My first electric guitar was an $80 Gibson SG copy; after that, I got a Les Paul copy,” said Mustaine.

“Not long after I started playing in [his pre-Metallica band] Panic, I started using an Ibanez Destroyer, a copy of a Gibson Explorer. And when I joined Metallica, I came upon the V, but I didn’t think much of it because of the weird shape. I didn’t think it was very playable, but I soon realized its versatility because I could do a lot with it once I got comfortable.”

What exactly made him change his mind? “Once I learned I could rest the guitar between my legs, that was a game changer in the studio,” he explained.

“With that, I could take my hands off the guitar and have them float instead of holding the neck upright to keep a grip. And I eventually got comfortable with it live, too. After that, I became fascinated with its beautiful shape; it’s iconic. So much so that it’s become a signature of what I do in Megadeth.”

So when Mustaine and Gibson's long-rumored partnership finally came to fruition in 2021, culminating in the Dave Mustaine Collection, it was safe for Megadeth fans to assume that the line would be well and truly centered around the V.

The initial rollout included the Dave Mustaine Flying V EXP in Metallic Silver, Mustaine's first signature Kramer – the Dave Mustaine Flying V Vanguard in Natural – and the Dave Mustaine Flying V 30th Anniversary Rust in Peace Edition.

Other Vs followed suit, comprising the Epiphone Dave Mustaine Flying V Prophecy and the Flying V Custom.

In other news, last month, Mustaine revealed that Megadeth’s next studio album, which is due to arrive next year, will be his and the band’s final record.

Soon after joining Guitarist, I was assigned to interview Joe Bonamassa and he began telling me about an amazing guitarist called Chris Buck.

Rather than let Joe carry on, I felt obliged to tell him that Chris and I were so well acquainted, I was even friends with his dad, Dory, who had been talking about giving Chris a special guitar. Dory and I eventually settled on a plan to refinish and upgrade his Epiphone Flying V.

If you ever feel the need for an armour-plated vehicle, just send your regular car to Epiphone for a respray… Epiphone guitars have a two-layer finish, with glossy colour coats sprayed over a transparent base coat. You can get them off, but different techniques are required to do so.

The topcoats come off easily enough if you use a hot air gun set to its higher temperature. The trick is to leave the base coat intact and not to try to get straight down to the wood. Too much heat will cause the base coat to blister and burn, which can char the timber. A lower heat setting softens the base coat and causes it to turn powdery as it’s scraped off.

Unfortunately, the korina wood tends to stick to the finish and chunks can come off as you’re scraping. What’s more, Epiphone Flying V bodies are veneered front and back, and heat can cause the glue to let go. If you encounter bubbled-up veneer, this can be fixed back down by heating the area with a clothes iron and then clamping it with a flat block.

When it comes to necks, I prefer to use a scraper because I worry that excessive heat will bend or twist them. The upshot is that stripping an Epiphone is not for the fainthearted. While a regular Gibson finish can usually be peeled off in about 20 minutes, stripping an Epiphone can take days.

Body Modifications

The brief with this guitar was to make it as ’50s-correct as possible, so modifications were required. Knowing that I’d be replacing the tailpiece and pickup rings, I plugged all the screw holes with dowels and sanded them flush.

The treble-side bridge post was set directly into the wood, but Epiphone used a post bushing on the bass side. Again, I glued in dowels so I’d have the option of using different-diameter bridge posts and maybe relocating them if needed.

Epiphone’s stock string ferrules are lipped and sit flush with the body, but ’50s Flying Vs ferrules were narrower and recessed. I filed the lips off the ferrules, but I needed to ensure that string tension wouldn’t pull them through the body.

To achieve this, I glued dowels into the string holes, leaving enough room for the ferrules to be glued in afterwards. I then drilled new string holes through the body, taking care not to widen the holes in the ferrules.

The factory-fitted Grover tuners made this featherweight guitar somewhat neck heavy, so a set of vintage-style Kluson tuners was the preferred option. I also wanted to mount a 1950s-style truss rod cover, but because Epiphone’s truss rod access groove extends all the way back to the nut, there’s nothing for the truss rod screw to bite into.

The solution I came up with was to veneer the headstock and double up the thickness in the area adjacent to the nut. Before gluing the veneer, I plugged the tuner bushing holes and sanded them flush. I used maple veneer here, rather than holly, because it’s easier to source.

Once I’d tidied up the edges, I opened up the truss rod access and drilled new bushing holes. Lastly, I drilled out the tiny white side dots to replace them with larger celluloid dots and then masked off the fretboard and nut.

Vintage Flying Vs always look as if the finish has sunk into the grain, and the wood looks so natural that I’m not convinced Gibson used grain filler. After staining the maple neck to try to make its tone a little better with the korina body, I sprayed the husk with Fiddes cellulose sanding sealer followed by high-build cellulose base coat. I also sprayed the front of the headstock black.

After levelling the basecoats I used StewMac’s Vintage Amber and Medium Brown ColorTone Stains to tint Nitorlack Golden Age gloss lacquer and then applied several coats. I sanded these coats smooth and then melted out the scratches with a couple of flash coats.

Flash coats are mostly thinners that are mixed with N-butyl retarder and a tiny dash of lacquer, and they flow out to leave a high‑gloss surface that’s almost ready to buff. After sanding with 1,200- and 2,000‑grit wet and dry, the finish polished up nicely.

Fixtures & Fittings

Epiphone’s ’50s-style Flying V is a perfectly decent electric guitar that manages to emulate the spirit of the real thing without being completely vintage accurate. Gibson’s ’58 reissues cost several thousand pounds (the Custom Shop 1958 Korina Flying V Reissue was £9,699 at the time of writing), so upgrading an Epiphone or ‘golden era’ Japanese reissue is an affordable option.

There’s also a lot of enthusiasm for Precision Guitar Kits’ V-Type kits, and the availability of high-quality ’50s-spec parts indicates that some Flying V fans choose this route.

A ’50s-correct brass tailpiece was needed to replace the Epiphone version, which is incorrectly shaped, secured by screws (rather than pin nails) and made from gold-plated steel. I ordered one from Crazy Parts, which offers a comprehensive range of ’50s Flying V accessories.

Replica pickguards and jack plates are available in white and black, but I decided to retain the original because it can be made to line up fairly well.

The parts list also included knobs, gold pointers, M69-spec pickup rings, a truss rod cover, Kluson single ring tuners, a gold jack socket and gold strap buttons. These are all generic and came from Allparts UK, except for the tuners, which were sourced from Music Store.

Chris supplied a used Gibson ABR-1 bridge, so I decided to string up the guitar and locate the bridge. Before that, I needed to install the tuners. The post holes were a tad narrow, so I used a reamer to widen the diameter for the bushings. With a steel ruler lining up the tuners, I marked the screw locations, drilled pilot holes and mounted them onto the headstock.

This is when I encountered the only complication of this project. Crazy Parts’ tailpiece is vintage-correct, but Epiphone’s string hole locations aren’t, and the tailpiece’s string holes didn’t line up.

In the end I had to widen the holes in the body, knowing they would be hidden, and slightly increase the diameter of the tailpiece string holes. With tape holding the tailpiece in position, I was finally able to see daylight through the holes.

With an ABR-1 bridge shimmed on a couple of pieces of wood, I could string up the guitar and verify that it would intonate with posts installed in the original locations. After drilling fresh post holes, I inserted the posts, mounted the bridge and gave the guitar a final play test.

I have previously described my process for distressing the finish prior to inducing lacquer checking on my 1957 Strat restoration. In short, I put lots of tiny dents and chips into the lacquer by dropping handfuls of screws onto the guitar, then I add several larger dents using a nail punch and the rounded side of a small hammer.

The difference this time was that I wanted the checking lines to form sideways across the body, rather than lengthways along it. The easiest way to achieve this was to put the guitar into a deep freeze – so long as you have one big enough.

Nitorlack Golden Age is formulated for easy checking and it didn’t disappoint. After three overnight sessions in the freezer, the checking ended up looking exactly as I’d hoped.

Relic ’N’ Roll

The pickguard and jack plate looked too shiny and white, so I used 0000-grade wire wool and 4,000-grit micromesh to dull the surface. I followed up with Angelus Medium Brown leather dye diluted with isopropyl alcohol to get more of a ‘parchment’ white colour. I then applied Morell’s dark brown grain filler to dirty up the bevelled edges.

After dulling down with more wire wool, the knobs, truss rod cover and pickup rings went into a bag with some screws and I gave it a good shake to scratch them up.

Wiping the leather dye onto the outer surfaces gave the knobs an amber look and gave the rings and cover an interesting patina. I used a file to induce some ‘strategic’ damage to the rings and applied more grain filler ‘dirt’ to the truss rod cover’s white edging.

Most well-played vintage Flying Vs retain little or no gold plating on the pickup covers or the bridge. The tuners generally show more of their original colour, and there may be traces of gold surviving on the pointers, switch and output jack. But the parts we had all looked way too gold. Dulling the gold – or even removing it completely – can be done by rubbing it with a wad of Brasso.

The pointers and jack were quite well plated and needed some effort, but the gold came off the tuner parts and switch with worrying ease. The plastic tuner buttons responded well to the wire wool, leather dye and grain filler treatment.

I gave the tailpiece a thorough wipe down with acetone to remove any greasy fingerprints before placing it into a sealed container with ammonia. It’s an old antique restoration technique that produces rapid results, but it’s important to always work outdoors and wear gloves, a respirator and eye protection because ammonia is dangerous.

Electronics

While I decided to recycle the original switch, everything else in terms of electronics was upgraded. I’m partial to Bare Knuckle’s 550k CTS potentiometers and find the 10 per cent taper responds similarly to vintage pots.

The higher value also corresponds with vintage 500k pots, which tend to measure way above 500k – and sometimes even closer to 600k. To mount the pots, I had to widen the pickguard holes with a 9.5mm drill bit.

There are plenty of excellent Patent Applied For humbucker replicas on the market to choose from, but for this project I decided to make a set using vintage-correct parts and magnet wire.

I used a brick red Soviet-era paper-in-oil capacitor for tone control, and all the connections were made with vintage-style braided wire. Lastly, there’s the all-important ground wire that goes under the tailpiece and through a hole into the control cavity.

After drilling pilot holes for the tailpiece nails, I fixed it onto the body but left the nails slightly proud for wiggle room. With the pickups in position, I soldered them to the volume pots and strung up the guitar so I could optimise the pickup placement and screw down the rings.

After adjusting the tailpiece and pickguard to optimise the alignment, I used masking tape to hold the pickguard in position and tapped the tailpiece nails all the way in. Once the pickguard was screwed down and the jack socket soldered on, I was finally able to tune up and hear the guitar for the first time.

V For Victory

I haven’t spent sufficient time with ’50s Flying Vs to become accustomed to their tone, but comparing Chris’s model with some decent online demos, this example has some of the same characteristics.

To my ears, they seem very clear, dynamic and expressive. Their woody tone almost slots in somewhere between an SG and an ES-335, with a splash of Strat-y twang.

When I’m aware of the history of guitars I’m working on, I often find myself thinking about the people who once owned them. Sadly, Dory Buck died in 2023, before I was able to finish his Flying V, but I hope he would have liked the way it turned out.

• This article first appeared in Guitarist. Subscribe and save.
• Watch more on Huw Price’s YouTube channel – Tone Twins TV.

Boomers hate it, but the Minecraft video game has taken a generation by storm thanks to its limitless creativity, allowing players to build practically anything they can imagine... such as, apparently, a Gibson Flying V.

Recently guesting on Jimmy Fallon, Jack Black brought such a creation to life, 'shredding' through one hell of an entrance as he made his way to the stage.

Black is the star of the new Minecraft film and wielded the square pixel axe as he made his way to his seat beside Fallon, tapping, playing behind his back, thrusting into it, and throwing out all manner of showboating stops along the way.

Fallon was, unsurprisingly, suitably impressed: “That is how you make an entrance!” he says.

Haters will say the actor and musician mimed – he totally did – and that Kirk Douglas, who delivered a scintillating take on the Sweet Child O' Mine guitar solo during the bit, was the real star of the moment – he totally was.

Playing a Goldtop Gibson Les Paul for the spot (perhaps as a nod to the top-hatted guitar hero who wrote it) Douglas' tight, tasty tone is on point, offering up a pitch perfect, wah-lathered intro before adding some signature flair of his own.

It's a killer solo, and it's a crying shame that the Minecraft V didn't actually get played. It looks the part with a faithful Gibson headstock, two humbuckers and chrome hardware, but whether it makes noise or not is a mystery. Still, that meant Douglas got to strut his stuff instead.

Speaking to Sweetwater, Douglas says seeing a friend's Tobacco Burst Les Paul copy in second grade turned him onto the illustrious appeal of rock 'n' roll, while Eddie Van Halen and church music – often played in his family home – helped him forge a unique voice on the instrument.

Now part of The Roots, both the on-screen version and the stage/studio version, he’s played in Fallon’s house band for well over a decade. During that time, he's seen Joe Perry, Zakk Wylde, and Ace Frehley all sit in with the band.

In that same interview, he revealed how his hero, Vernon Reid, gifted him a Goldtop Les Paul, which may just be the same guitar he used to deliver this white-hot shred-fest with.

In April 2021, Gibson dropped a signature Gibson SG for the guitarist that, packed with features, may just be the most versatile SG on the planet. When you're playing in Fallon's band, you never know what surprises will be in store, so such versatility is vital.

On the show, Fallon has recently been given a loop pedal masterclass from Ed Sheeran and dished out a very silly reimagining of Summer of '69 with Kevin Bacon.

Dean has responded to a federal jury’s decision to back Gibson in its copyright infringement battle against the Razorback luthier, branding it a “complex verdict”.

The two firms have regularly locked legal horns in recent years after Gibson filed a lawsuit against Armadillo Enterprises , the owner of Dean Guitars in 2019. It claimed that Dean's use of Flying V, Explorer, and SG guitar shapes infringed upon its copyright.

Gibson won the first trial in 2022, which prevented Dean from building guitars with those silhouettes. It called the verdict “a win for Gibson fans, [and] for all of the iconic American brands that have invested in meaningful innovation,” as it fights against counterfeit guitars.

A separate lawsuit followed Dean in 2023 as mounting debts left the firm’s future hanging in the balance. Yet it pushed on, launching a new wave of Explorer-style guitars in late '23 with the not-so-subtle tagline of “zero f**ks given,” and successfully won the right to a retrial in its case with Gibson in July last year.

Much of the Dean owner’s defence hinged upon it successfully arguing that the body and headstock shapes Gibson claims it owns should be deemed generic.

The retrial, however, has ruled in Gibson’s favor once more, upholding its trademarks. As was the case three years ago, it is also set to receive a financial sum for damages., though that has once again been set at a token $1.

Now the Dean owner has issued a short statement in response to the verdict, noting that the jury found in its favor on the ES-335 shape and Evolution headstock.

“Today’s decision in our trial with Gibson is a complex jury verdict,” it says. “We are reviewing all of our options. We are pleased that the jury found that our Evolution headstock does not infringe on the Gibson Dovewing headstock and that the ES-335 body shape is generic.

“With the award of just one dollar in damages it is clear that lawsuits like this in the guitar industry are just not worth the time and expense – we hope that in moving forward parties will be able to work out their differences in a more efficient manner.”

Gibson’s own statement notes “the jury’s decision reinforces the validity and strength of Gibson’s intellectual property rights, confirming that its guitar shapes, including the Flying V, Explorer, and SG, remain protected trademarks,” and underlined that it was turning its focus to the future.

Historically, Gibson has guarded its intellectual property fiercely, with PRS and Trump Guitars both on the receiving end of moves from Gibson's legal team.

Last year a staggering $18 million of fake Gibson guitars were seized by US Border Protection officers: the biggest bust of its kind on record.

NAMM 2025: ESP has rolled out its 2025 roster of electric guitars, and it’s gone big on single-pickup builds, with several big-name signature models setting the trend.

Chief among them is the LTD JM-I, a Superstrat-style model for Sylosis and former Architects riff monger Josh Middleton, which quickly follows the announcement of Mick Thomson's first signature guitar with the Japanese company.

There are some neat specs to the model, including a Blood Moon finish over a quilted maple top, with a Gotoh Tune-O-Matic string-through bridge, an extra thin U-shaped neck, and LTD locking tuners offering premium touches.

But it's the single Fishman Fluence Modern humbucker, found in the bridge position and therefore mirroring Thomson’s electronics setup, that seems the most telling. Indeed, of the 28 new guitars, 14 are bridge ‘bucker only builds.

In an age of djent and thall, where metal guitar players are often focusing on crushing low-ends and colder-than-dumping-your-girlfriend-over-text cleans, over shredding, ESP looks to be matching market demand, where the desire for warm neck pickup tones isn’t too great.

Highlights include black-finished, gold hardware-adorned, and EMG JH pickup-loaded MSV-1 flying V, a Phoenix-201. The latter is the firm's Firebird-type silhouette – and one which Rammstein's Richard ZK has made his own with a trend-bucking, twin 'bucker signature – while an EC-201 serves for those wanting an LP-esque axe but who also hate neck pickups.

Elsewhere, the SN-1 HT offers another Fishman Fluence build, this time with a Strat-gone-stealth-mode aesthetic, capped with a sandblasted black finish for its swamp ash body.

The 201 range, which includes the aforementioned Phoenix, uses the same recipe of mahogany bodies, maple necks, and ESP LH-150B pickups with a push-pull coil split control, for Explorer, Telecaster, and super Strat shapes. The Phoenix, though, ditches the maple neck in favor of mahogany.

There's also a recognition of the rising offset trend, as new recent builds for Spiritbox's Mike Stringer and Periphery's Misha Mansoor. These come via the XJ-1, a six-string baritone in a Silverburst finish that again employs a Fishman Fluence, and the AW-XJ7, an Evertune bridge-equipped seven-string baritone signature for Whitechapel's Alex Wade.

Baritones are growing in popularity in the metal world, with Loathe’s low-tuned shenanigans a major catalyst. As such, six of the line-up deliver 27” scale lengths. Only two of those – the luminous yellow SC-608 and Granite Sparkle M-1007, come with twin ‘buckers, both of which are Fishman Fluence.

Last year, Marcos Mena raised eyebrows with his signature Ibanez that saw its only pickup in the neck position. ESP is keeping things more conventional with its 2025 range, hoping that, by staying on the cutting edge of player trends, it can appeal to the contemporary metal crowd.

ESP’s decision to forego neck humbuckers in many of its 2025 builds (fear not, HH fans – there are a few of those on the books, too) is an interesting one.

The rise in popularity of single pickup guitars over the past few years has been well documented – the Fender Tom DeLonge Stratocaster and the ever-present EVH Striped designs remain stand-out examples – and now it seems that trend has taken hold in the metal world.

Pair this drop with that aforementioned Mick Thomson signature and this could very much be the start of a new movement in metal guitar.

“If you remain static in the world of guitar design and manufacturing, you’re already falling behind,” said Matt Masciandaro, president and CEO of the ESP Guitar Company.

“For ESP, there are constant innovations that happen along the way, from the components we select, to the materials we source, to the methods we use to create high-quality instruments at all price points. 50 years is a great achievement for ESP, but our sights are set on what’s coming next.”

Head over to ESP to check out the full range.

2024 Year in Review: When we think of the Gibson EDS-1275 doubleneck, several players come to mind – from Slash and Don Felder to John McLaughlin and Alex Lifeson.

But for most people, it’s Jimmy Page they picture holding the iconic guitar first introduced in 1963, strumming those immortal chords to Stairway to Heaven on its upper-half 12-string.

The launch of his Gibson Custom/Murphy Lab replica coincided with the opening of the Gibson Garage in London, where Page was joined by fellow guitar greats Tony Iommi and Brian May.

But that’s not the only big news from Gibson; Michael Schenker revealed in August that he’s working with the company on a signature Flying V – and a signature model for Lamb of God’s Mark Morton has been teased.

Then there’s the prospect of more Page guitars, May Red Special replicas and maybe, just, maybe something Metallica-related. Watch this space!

When you think of iconic electric guitars, there are a few that immediately spring to mind. Hendrix’s legendary white Strat, Gary Moore’s Greeny, Eddie’s larger-than-life Frankenstein, and, of course, Kirk Hammett’s ‘79 Gibson Flying V. Responsible for producing the solos and riffs that would catapult Metallica from thrash’s underground heroes to mainstream metal monsters, this unassuming black V has gone on to develop a cult-like following – and now thanks to Sweetwater, you can own a perfect replica. Originally priced at $14,999, the American music retail giant has slashed a mammoth $6,000 off the price, bringing it down to $8,999. 

Hammett partners with the Gibson Custom Shop to perfectly and precisely replicate his beloved ‘79 Flying V. Just like the original, this new version features a mahogany body, a three-piece mahogany “V” neck, a beautiful rosewood fingerboard, and a late ’70s Tune-o-matic bridge. 

To add even more authenticity, every scrape, scratch, dent, and mod has been included – sat next to the original, we’re confident you’d never be able to tell the difference. As you’d expect, the Gibson Custom Kirk Hammett 1979 Flying V  comes with an SKB Flying V case that mirrors Kirk’s original, with a vast assortment of Metallica-themed case candy. 

For context for how good a deal this is, at $8,999, the Kirk Hammett Flying V is now $1,000 cheaper than the Gibson Custom 1958 Korina Flying V, which is currently $9,999!

Cheaper alternatives 

Okay, we’re very aware that this guitar is expensive and out of reach for most players. With that in mind, we thought we’d offer a few V-shaped alternatives that are a little kinder on your wallet. First up, we thought we’d start with another thrash legend, Gary Holt. Right now, you can bag the LTD Gary Holt GH-SV Signature V for only $1,599, that’s a saving of $400. 

Jumping over to Guitar Center, and we’ve found $80 off the ever-popular Jackson Rhoads JS32T FSR in a stunning natural oil finish. Featuring everything from a compound radius fingerboard, 24 jumbo frets, and a duo of high-output pickups, this is a lot of guitar for the money. Grab this one for only $199 at Guitar Center. 

Continuing with cut-price Jackson models, and there’s also $60 off the celebrated Jackson JS Rhoads JS32T. This is a very popular model for beginner metalheads looking to get their first V, and it’s easy to see why. This is a well-made, well-spec’d and well-priced V that is a total steal at only $249. 

Lastly, why not build your own? If you head over to Amazon, you can find the Music-Life V-style DIY Guitar Kit. For only $116, you can put together your very own V and customize it to your own personal tastes – and you never know, maybe you’ll become as iconic as Hammett and Gibson will make a high-end replica. 

For more Cyber Weekend discounts, be sure to keep it locked to our Black Friday guitar deals page, where we'll be showcasing the very best deals from across the internet.  

Shop more epic Black Friday deals

• Amazon: Guitar gear deals
• Fender store: 50% off guitars
• Guitar Center: Up to 50% off
• Musician's Friend: Up to 60% off sale
• Positive Grid: Save on Spark
• Sweetwater: Save up to 80% on gear
• Waves: Plugins just $19.99

L7's Donita Sparks has become inextricably linked to the Flying V – a guitar that, admittedly, might not be the first guitar music fans associate with grunge-tinged art punk. However, Sparks claims her choice was deliberate, albeit one that began as a bit of a joke with a not-so-subtle hint of defying expectations.

“I do remember my first Flying V,” she tells Guitar World. “I played it ironically as a joke because nobody had a Flying V at that time who was doing art punk, or at least punk, right? It was considered a very ‘metal’ guitar, and it was kind of ironic, like I could not shred. I've never been a shredder, and yes, it's kind of a shredder guitar.”

“A lot of guitars are very curvy, kind of like the silhouette of a va-va-voom woman,” she had previously shared with NPR. “And a Flying V is very angular. And it looks like you're playing something from the Jetsons.”

Once the band gained momentum, Sparks stuck with the Flying V, even playing it at career-defining moments like their 1994 Glastonbury appearance and their infamous set at the 1992 Reading Festival.

“At that point [in my career], I was playing Epiphone Flying Vs because the folks at Epiphone were kind enough to give me free guitars. So, I had Epiphone Flying Vs, and those were great.

“And I always needed a tremolo bar, so they had those, but sometimes, I'd break them by throwing them off me, and they'd have to get repaired. There was a lot of duct tape going on with all our stuff.”

While Sparks switched to a 1963 Gibson Melody Maker for her solo record Transmiticate, feeling that the Flying V represented her “L7 identity,” the band's 2014 reunion and their 2019 album Scatter the Rats saw her return to the model she's best associated with – with a notable upgrade.

“We all play Gibsons now. Suzy plays a Gibson Melody Maker, and I'm on a Flying V. So, we finally graduated from Epiphone to Gibson!” she quips.

Over 130 of Jeff Beck's guitars, amps, and ‘tools of the trade’ are set to go under the hammer in London on January 22, 2025, as part of Christie’s Jeff Beck: The Guitar Collection. The sale features some of Beck's most-used guitars throughout his six-decade-long career, spanning from his Yardbirds era to his last tour in 2022.

Commenting on the decision to sell his prized possessions, Jeff Beck's wife, Sandra Cash, said, “These guitars were his great love, and almost two years after his passing it's time to part with them, as Jeff wished. After some hard thinking, I decided they needed to be shared, played, and loved again.

“It is a massive wrench to part with them but I know Jeff wanted for me to share this love. He was a maestro of his trade. I hope the future guitarists who acquire these items are able to move closer to the genius who played them.”

As expected from the instruments of such an esteemed guitarist, Beck's guitars are anticipated to fetch hefty prices. The sale is led by one of his most recognizable guitars – his iconic 1954 ‘Oxblood’ Gibson Les Paul.

This heavily modified Les Paul, estimated to sell for between £350,000 and £500,000 ($442,000–$632,000), was purchased in November 1972 in Memphis.

It saw extensive action throughout the 1970s, most notably in the power trio Beck, Bogert & Appice, and during his performance alongside David Bowie and Mick Ronson at London’s Hammersmith Odeon in July 1973.

However, it's best known as the centerpiece of the cover of his 1975 album, Blow by Blow, and for being one of the four guitars he used to record this seminal record.

Another storied Les Paul in the collection is the so-called ‘Yardburst,’ a 1959 Gibson Les Paul best known for its role during Beck’s Yardbirds era. Now estimated to sell for up to £60,000 ($75,791), the guitar was originally purchased for £175 at Selmer’s in Charing Cross, London, in early 1966.

It was used on many key recordings, including Over Under Sideways Down, from The Yardbirds' 1966 album, Roger the Engineer, the epochal Happenings Ten Years Time Ago, his Jimmy Page-co-written solo track Beck’s Bolero, and his debut studio solo album, Truth.

It also saw heavy onstage use in 1968, including the Jeff Beck Group's famous residency at The Scene in New York, where nightly encores saw Jimi Hendrix join Beck and his band on stage.

The Tele-Gib is another Beck staple included in this auction. This hybrid guitar, put together specifically for Beck by Seymour Duncan, comprises a Fender Telecaster body and neck, with a pair of Gibson PAF humbucker pickups extracted from a Flying V. It's expected to fetch between £100,000 and £150,000 ($126,318 and $189,477).

Duncan brought the guitar to Beck while he was rehearsing with Beck, Bogert & Appice in London in late 1973. Eventually, it found its way onto Cause We’ve Ended as Lovers, from Blow by Blow, and was used in the 1981 benefit show The Secret Policeman’s Other Ball alongside Eric Clapton.

Beck’s 1954 Sunburst Fender Stratocaster was a gift from Humble Pie’s Steve Marriott and became one of his most prized possessions. It's now expected to sell for somewhere in the £50,000-£80,000 ($63,159-$101,054) range.

Beck replaced the existing Telecaster neck with a 1958 Stratocaster neck, turning this guitar into his principal performance and recording instrument throughout the late 1970s and early 1980s, including the majority of the 1980 album There and Back.

‘Tina,’ a Pink Jackson Soloist – estimated to sell for £8,000-12,000 ($10,105-$15,158) – debuted during the 1983 ARMS benefit concert at New York’s Madison Square Garden. It was used in several important recording sessions, including those with Tina Turner – thus its nickname. Famously, Turner engraved her signature on it with a flick knife and then rubbed in green nail varnish for longevity’s sake.

Another highlight is Beck’s longest-serving Fender White Stratocaster, ‘Anoushka.’ Master-built by J.W. Black of the Fender Custom Shop, it features a neck that Beck favored, paired with a white Stratocaster body.

Named ‘Anoushka’ after sitar virtuoso Anoushka Shankar, who signed it for him, this guitar became his primary recording and performance instrument for 16 years – used to record four solo albums and in hundreds of shows, including Beck’s 2012 performance at the Obama White House alongside B.B. King and Mick Jagger. It's estimated price tag? Somewhere in £20,000-£30,000 ($25,263-$37,895) range.

Highlights from this sprawling collection will be on public view in Los Angeles from December 4 to 6, followed by a showing of the full collection in the pre-sale exhibition at Christie’s headquarters in London from January 15 to 22, 2025.

For more information, head to Christie's.

Think of Jimi Hendrix’s guitars and there are two models that are likely to spring to mind. The first would be the upside-down double-cut made by a brand starting with ‘F’ which, let’s be honest, is and always will be the go-to for aping the bulk of Jimi’s recorded tones. But then there’s the alternative: a Gibson Flying V.

Jimi was sort of late to the party with Gibson’s futuristic model, which first launched in 1958 as part of Ted McCarty’s masterplan to renew the perception of Gibson as the forward-thinking, innovative guitar brand.

But it would be another decade or so before the late-’50s idea of how the future might look would converge with the man who showed us exactly how the future of the electric guitar would sound. Jimi got his Flying V in 1967, which was a then-new model. Gibson gave the V a push, with a revamped mahogany body (vs the original korina-bodied models), a smaller headstock and tweaked control layout.

Jimi’s original started life with a sunburst finish before he sprayed it black and hand-painted the ‘Love Drops’ design himself. That brings us neatly to the guitar we have on test here – the Epiphone Inspired By Gibson Custom Jimi Hendrix Love Drops Flying V. But that only takes us partway through the story.

As we’ve seen in recent years from signature models for the likes of Joe Bonamassa, Adam Jones, Noel Gallagher and Dave Grohl to name a few, Epiphone is taking things more seriously than ever when it comes to the guitars you see in stores.

These aren’t just the ‘one you get if you can’t afford the Gibson’ models. So, in keeping with this ethos, this guitar falls into the Inspired By… collection. That means greater detail, upgraded electronics and (hopefully) an all-round better guitar brought even closer to the Gibson blueprint.

In the case of the Epiphone Love Drops, that manifests with Gibson USA Custombucker humbuckers, third-party components from CTS (pots), Mallory (capacitor in the tone circuit) and Switchcraft (the selector switch and output jack).

The body and neck are faithful to the ’67 spec, too, with the period-correct headstock, mahogany body and one-piece mahogany neck, and Epiphone has included a Maestro Vibrola vibrato as well.

The whole lot comes packaged in a hardcase – just as well, given that a Flying V isn’t going to begin to fit in that spare generic gigbag you’ve got knocking about. The artwork is nicely done, and if you’re anything like us, you’ll spend a good while soaking up the detail. But with that, it’s time to plug in, and, of course, strap it up.

You didn’t think you were going to play this guitar seated, did you? Unlike some Flying V models, the ‘Love Drops’ doesn’t include a rubber leg grip. There’s no question: Flying Vs are made to be played standing, lest you adopt a near-vertical, neoclassical seated stance, and even then, you’ll need to be careful not to damage the points of those precarious wings against things.

But, with that caveat out of the way, we can get to the actual playing. Epiphone calls the neck profile on this guitar a C-shape; in reality, it feels a little slimmer – not dissimilar to that found on our Epiphone Explorer. It’s comfortable, but not too slim, and as you’d probably expect, a fairly all-round feel.

The neck pickup is immediately impressive, with a chunky low-end and plenty of presence to offset potential wool. It’s versatile, too, sounding great clean, and handling heavier gain and fuzz nicely, and we found it lent itself nicely to drop D tuning.

Our favourite tones, though, were found with a moderate amount of crunchy overdrive. Here, we found there was a nice balance of the slightly scoop-y, low/high frequency contrast that allowed our rhythm sound to remain clear and present, while Jimi-style single-note runs bite through.

The bridge pickup also sounded great, but we found our review model to have its pickup set a little too high, in addition to a small amount of choking further up the neck on bigger bends. These are only minor maintenance tweaks, though.

The Maestro holds up well under gentle use, but if you plan on a psychedelic whammy bar freakout, be prepared to tune up again before your next song.

Overall, the Love Drops is a great statement guitar. It looks fantastic, plays well and sounds superb, particularly in the neck position.

Specs

• PRICE: $/£1,499
• BODY: Mahogany
• NECK: Mahogany, one-piece
• FINGERBOARD: Laurel
• FRETS: 22, medium jumbo
• PICKUPS: Gibson Custombuckers
• CONTROLS: Volume (x2), Tone, 3-way switch
• HARDWARE: Chrome – Maestro Vibrola, LocktTone Tune-O-Matic, Epiphone Deluxe tuners
• LEFT-HANDED OPTION: Yes
• FINISH: Ebony w/ Love Drops design
• CASE: Yes
• CONTACT: Epiphone

Brilliant, eccentric German guitar hero Michael Schenker debuted with the Scorpions before joining UFO in 1974, then breaking out on his own with The Michael Schenker Group. He favours a black and white Flying V and helped popularise cocked-wah guitar tone. His new album is an all-star celebration of his UFO days, featuring Slash, Axl Rose and other heavy friends.

What guitar did you learn on?

“It was a guitar that was lying around. It must have been an acoustic. My brother Rudolf [Scorpions guitarist] got a Gibson for his birthday instead of a motorbike. It must have been that one that I secretly played against his will!

“The first song I played was something to do with San Francisco. It was a hit in those days. [Hums San Francisco by The Mamas And The Papas] Yeah! And there was a solo in there, and I learnt that. I was nine years old and I was very happy.”

Was was there a moment when you felt you had arrived as a player?

“No, it has always been the same for me. Right from the moment when I was nine years old and picked up a guitar, I was always amazed with what I could discover, and it never stopped. I am in the same place!

How much did you practise in those early days and how often do you practise now?

“It is more like play and discover. That’s different. It is less technical. It is more like looking for gold, and once in a while I find a piece of gold. This will automatically become part of my developed style.”

What is the one song or performance that you’re most proud of?

“I’m happy with everything. For me, it is never about a song. I am a lead guitarist! Ha! Lead guitarists think differently. My whole life has always been about development, so every moment is special, and every moment is different. We can never compare any of them."

What was your biggest motivation as a player?

“I wanted to express myself. That was my devotion. It still is and I have done it for 50 years, without listening to music so I don’t get influenced, and that’s where the uniqueness comes from. Focus on opening up what’s unique about yourself. Anybody who makes that decision can do it. I am a musical monk or something. That’s my mission. Self-expression is my mission.

“That’s what I want, in every sense, not just music. I just love to self-express and really do what I like to do. I am just in a place where I choose to do it this way instead of copying anyone else. What you do with the guitar expresses your personality.”

What technique did you have to work hardest to master?

“There is no technique for me. Technique is very, very much in the background. The important thing was to find the note. I felt like I knew it was there, somewhere, and I have to find it! And the last thing on my mind was if I do it the right way or the wrong way, as long as I found that note.

“And of course, that’s what I did. Day after day after day, I basically developed – technically – the wrong way of playing compared to today where you have the guitar schools, where you learn the perfect position of the hand, how to hold your fingers and play with all five fingers. But I couldn’t have found my notes. I couldn’t have written the songs I wrote if I would have followed that first. I just didn’t care if I did it the right or wrong way.”

As a player, do you have any bad habits?

“There are no bad habits! There is only one thing: to make good music however you do it. Hey, there is no right or wrong for me. I can get better technically because I have plenty of time to get my fingers into easier positions, but the thing is, there are certain ways of playing, like my style, that you cannot necessarily get across if I play it perfectly positioned with my fingers based on what’s taught at guitar schools.

“It’s like fishing. How you find the note, how you strike or sweep over the strings, how you hit them, that is how the sound comes together. It’s not technical. Technicality makes everything clinical.

“But fishing for notes as a priority makes everything three dimensional, analogue. It gives it warmth. It’s not perfect – it’s feeling. It’s more feeling than having the right position of your fingers playing guitar.”

In your early days, what guitar was the game changer for you?

“A triangle guitar! Yeah, very strange. I had never seen a Flying V, but when I was at school, doing this project, building something out of wood, I wanted to make a guitar and ended up building a triangle guitar, which is similar to a Flying V, but it’s not the Flying V.

“You put a Flying V next to a Les Paul, next to a Strat, on the floor, it won’t do anything. It becomes something with the person who picks up the guitar. That’s what that guitar becomes. I found the Flying V by coincidence. Like many things in my life, it happened by itself. So maybe I was meant to have that guitar.

“I discovered that guitar by accident. I liked the combination of my amplifier with that guitar. It was closer to the sound I imagined, and I found that I was able to do a really good vibrato by putting the V between my legs, so that the neck would not wobble around. I was able to lock it in and so that was one of the main reasons why I felt good about that guitar.”

With your new album of classic UFO material, was there anything you learned about your playing when revisiting songs you wrote 50 years ago?

“I don’t analyse things. I just do it. I don’t analyse what I have done, or why I did it, I just do it because that is the moment of being an artist. You just do it. Less thought!”

What do you play when you’re just relaxing and playing for fun?

“Again, I don’t think. I just pick up the guitar and play. But one thing I do in order to keep shape is I play to a metronome to make sure I am not slowing down in any way, because when you get older the way we perceive time is different from when we are younger, so sometimes you think you are playing as fast as you did the day before but it is do with the biological rhythm. I always measure by a metronome, at a certain speed. I have to make sure that I can play my old songs.”

Do you have any favourite tracks from revisiting your UFO years?

“I love This Kid’s with Biff [Byford, Saxon frontman]. I was amazed. I always wanted to do something with Biff. Every song is different but everybody did a great version. I don’t like comparing things. I just like to listen to it and not compare it like the Olympics! There are so many different qualities, different feelings, but all of them are unique in their own way, so I don’t give them points for their performances.

“It is all great stuff, what they did. When I heard Dee Snider [ex-Twisted Sister singer] I went, ‘Wow!’ I didn’t know he had a great voice like this. Kai Hansen [Helloween guitarist/vocalist] was another one. He did a fantastic job on Rock Bottom. And when I heard Joel Hoekstra, he sounds like a saxophone on his guitar. He’s really, really unique. It was fun. It still is fun listening to the different approaches. I didn’t expect anything, but when I heard it I was extremely happy with it.”

And Axl Rose?

“Axl originally sang three songs, but he didn’t like his versions of Only You Can Rock Me and Too Hot To Handle, so he decided to stick with Love To Love, which is a fantastic version.

Can you recall a moment when you felt like you’d failed as a player or felt embarrassed by a performance?

“That’s a big question. Of course you can feel embarrassed when you play a bum note. But I don’t really focus on that. I’d rather focus on the good moments. You know, I played bum notes on Strangers In The Night [UFO’s legendary 1979 live album], and today those bum notes are the right notes! Because everybody got used to it.

“And people ask me, ‘Michael, how do you make this work, playing a major over a minor?’ I’m like, ‘I don’t know what you’re talking about!’ But they might have been asking about those bum notes!”

• My Years With UFO is out now via EarMUSIC.

Just last week, Joe Bonamassa appeared on the Gibson Gear Guide show, recounting the origins of his relationship with Epiphone, and why the blues guitar ace and world-renowned vintage guitar collector (and sleuth) chose to work with the company on more accessible takes on some of the most prized electric guitars in his collection.

That partnership most recently (and by recently we mean last week) produced an $849 take on his extremely rare Copper Iridescent 1955 Les Paul Standard, for instance. But this week, we have something on the complete opposite end of the spectrum, a lavish, exacting, Murphy Lab-aged recreation of Bonamassa's legendary “Amos” Flying V.

A year and a half in the making, the Collector's Edition “Amos” replicates in molecular detail all of the storied original guitar's quirks, and is a much more upscale of the lower-cost replica Bonamassa produced with, you guessed it, Epiphone, in 2017.

Limited to just 50 examples, the Collector's Edition “Amos” V has the top-of-the-line perks you'd expect – a Brazilian rosewood fretboard, precision-engineered “Amos Custombuckers,” a two-piece Korina body and Korina neck, aged hardware that matches the original to a tee...

Aside from the luxury, though, the real attraction is “Amos”'s story, which could itself be the subject of a book.

First owned by a man named Amos Arthur – head honcho of of Arthur’s Music in Indianapolis, Indiana – the guitar subsequently ended up in the hands of guitarist Pete Mitchell, who played with Ernest Tubb. From there, it eventually ended up in the hands of Norman's Rare Guitars proprietor Norman Harris, with whom it remained for around 40 years, before its sale to Bonamassa just under a decade ago.

During its time with Harris, the “Amos” V appeared in a number of vintage guitar books, and, amazingly, This is Spinal Tap.

Even amongst as rare a breed as '58 Flying V's, “Amos,” according to Bonamassa, stands out, and for more than just its backstory.

For one, a massive chunk of the original's skid plate somehow fell off, it has a black pickguard and a white input jack, and it has an extra strap button. For their time, Bonamassa says, the humbuckers were also unique.

“Not all humbuckers are created equal, especially in '57 and '58,” the guitarist said on a new episode of the Gibson Gear Guide. “You have to remember, they were just rolling those things out – sometimes they're really woofy in the front and really bright in the back.

“Amos is pretty balanced – it's got a nice clean tone in the front, and it barks in the back.”

“It's every bit as good as a Flying V of old, except you don't have the liability of bringing out a unicorn guitar,” he added.

Writing about “Amos” in his Guitar World lesson column, Bonamassa said, “‘Famous Amos’ is an historic guitar, but not because of my association with it. There’s a provenance to this guitar, and I suggest that you do an Internet search of ‘Amos Flying V.’

“You’ll no doubt come across a picture of Amos Arthur, the proprietor of Arthur’s Music Store, holding the guitar in 1958 and seemingly thinking, ‘What the hell did they just ship me, and how am I going to get $275 for it?!’”

In keeping with the many hours that went into creating each of the 50 examples set to be produced, the Gibson Joe Bonamassa “Amos” 1958 Flying V Collector's Edition rings up at a cool $19,999.

For more on the guitar, visit Gibson.

Joe Bonamassa has recalled the origins of his relationship with Epiphone, saying their partnership first started “out of complete and utter spite”.

The prestigious bluesman and guitar nerd has been working with Epiphone for over a decade and has just dropped his 12th Epi signature guitar in the form of a Copper Iridescent 1955 Les Paul Standard. Now he’s lifted the lid on how their fruitful partnership came to be.

The pair's previous collaborations have included the 'Lazarus' 1959 Les Paul Standard and a 1962 ES-335, with Bonamassa eager to bring more affordable vintage-inspired guitars to the market.

“I was in the UK at a guitar shop, which is standard behavior for myself, and I noticed that there was an import model called Vintage,” he told Gibson Gear Guide host Dinesh Lekhraj in a new video. “They do knockoff Les Pauls, and they had two of them: one that clearly had the pickup turned around and it was a Peter Green clone, and they called it something clever.

“And they had a jazz and blues model, which was gold, and it had mismatched knobs,” he continues. “I bought it. It was £300. I stuck it in a gig bag and I brought it to this location [in Nashville] and showed it to the then-CEO of Epiphone, Jim Rosenberg. I said, 'These guys over in the UK are having a lot of fun, and I want in.'”

The rest, as they say, is history, with the collaboration quickly producing a Goldtop Les Paul in 2013. A raft of eye-catching builds, including a 1963 SG Custom, have since followed.

Their latest creation sees the return of a highly obscure Gibson colorway. It's also the first of their builds to feature P-90s.

Bonamassa says the pickup choice was “long overdue”, after he made a strong case for fitting P-90s into Les Pauls last year.

For the uninitiated, British luthier Vintage started in 1995 in the North of England with an ethos of making classic instruments “for the working musician”.

Bonamassa clearly saw an opening for some Epiphone-driven heritage hat tipping and has since become a tour-de-force in bringing vintage icons to lower price points.

Speaking to Total Guitar earlier this year, he furthered the viability of affordable alternatives by saying “some of the greatest sounds were created on junk!”

German guitar hero Michael Schenker has had his fair share of projects. After debuting with the Scorpions, he joined the English classic rock group UFO, making a name for himself as a hard rock and heavy metal player before breaking out on his own with the Michael Schenker Group.

One constant throughout his illustrious career, however, has been his penchant for Flying Vs. Turns out, his love affair with this distinctive model began early – as far back as his school days in Germany.

“I had never seen a Flying V, but when I was at school, doing this project, building something out of wood, I wanted to make a guitar and ended up building a triangle guitar, which is similar to a Flying V,” he tells Total Guitar.

While his preference for Flying Vs is, by now, well-known, Schenker admits that what makes any guitar special is the player's skill and attitude.

“You put a Flying V next to a Les Paul, next to a Strat, on the floor, it won’t do anything. It becomes something with the person who picks up the guitar,” he imparts.

“That’s what that guitar becomes. I found the Flying V by coincidence. Like many things in my life, it happened by itself. So maybe I was meant to have that guitar. I discovered that guitar by accident.

“I liked the combination of my amplifier with that guitar. It was closer to the sound I imagined, and I found that I was able to do a really good vibrato by putting the V between my legs, so that the neck would not wobble around. I was able to lock it in and so that was one of the main reasons why I felt good about that guitar.”

As befitting a Flying V aficionado, the electric guitar virtuoso recently signed with Gibson, and revealed a new signature guitar (we can safely assume it's a Flying V) is in the works.

For more from Michael Schenker, plus new interviews with King Gizzard and Yungblud, pick up issue 389 of Total Guitar at Magazines Direct.

Gibson had used the ‘Electric Spanish’ or ‘ES’ designation since the launch of its first electric guitar, the ES-150, in 1936, but it would later become synonymous with the thinline double-cutaway ‘semi-acoustic’ ES-335T, which first appeared on the back cover of Gibson’s spring catalogue in 1958 (along with the initially short-lived Flying V).

A quick word on ES nomenclature before we continue: T stands for thinline, so applies to all models; D is for double-pickup, redundant for all but the 330; N is for Natural, C for Cherry and W for Walnut); S for stereo; and V for Vari-tone. Some now call the later, longer variant a 330L, but that was never official.

Back to the ES-335, then, and this model had a pair of Gibson’s new and improved noise-cancelling ‘humbucking’ pickups, four controls and a switch, dot fretboard markers and a stop tailpiece, while also launching with new, bigger frets, which would soon feature across all models.

Sunburst was the standard finish at $267.50, with Natural blonde an optional $15 upcharge. A radical design, it proved successful and has been in production ever since, almost matching Gibson’s long-running ES-175 jazzbox, which was produced for 70 years, from 1949 to 2019.

Like the early Les Pauls from 1952, the neck angle of the first 335 models was too shallow. This required the bridge and stoptail to be ground thinner and thereby made more fragile to get a good playing action. This issue was fixed by 1959 when neck binding was also added.

That same year, Gibson jumped to extend the range with the fancier ES-345, featuring stereo output (sending each pickup to a separate amp) and Vari-tone circuitry, and the even posher ES-355 (introduced in a very small number in 1958 before its official introduction in ’59) added multi-ply binding, gold hardware and Les Paul Custom neck appointments.

Single Minded

The runt of the litter was the ES-330T – the single-pickup sibling to the 330TD and the main focus of this feature – which joined the ranks in 1959, replacing the ES-225, along with its fellow new double-cutaway thinlines, the 335, 345 and 355. Not much cheaper at $230 (in Sunburst), it was a more showy proposition than entry-level ‘student’ models such as the Les Paul Junior.

The 330’s construction was surprisingly different. The neck joined the body three frets earlier (at the 16th fret, rather than the 19th of the 335), reducing higher register access.

And whereas the rest have a solid maple block under the top to anchor the pickups, bridge and tailpiece, the 330 is fully hollow. It therefore has a trapeze tailpiece to anchor the strings, which wasn’t fitted to other ES models until several years later – and in turn was removed by many players.

330s are a great transition guitar for acoustic players who often play cleaner and are used to dealing with feedback, while the hollow construction confers a certain familiar snap to the action.

Unlike their fancier siblings, 330s had Gibson’s earlier single-coil P-90 pickups under dog-ear covers – black plastic until ’62, then nickel-plated until turning to chrome in ’65. Bigsby and Gibson vibratos were offered across the ES range and all models’ features evolved along the typical Gibson path over time.

Knobs started as ‘bonnets’ and became metal cap ‘reflectors’ in 1960, before changing again to ‘witch hats’ by ’67. Switch tips lightened over the years as plastics improved, but they often darken to a nice amber with age.

The 330 necks had a chunky C profile in ’58, flattening slightly to a D in ’59, and got much skinnier in 1960, fattening again by ’63. Many feel the fatter necks have a bigger tone – just witness Clapton’s famous ’64 Cherry ES-335. By ’65, however, necks were narrower at the nut, compromising playability and desirability. Meanwhile, rectangular pearl blocks replaced the original dot fret markers in ’62.

As ever, there are transitional examples, such as the mid-’62 330s with plastic pickup covers and block fret markers (Guitarist contributor Huw Price has a great example). To many, the plastic covers sound better and their combination with the great-playing dot necks explains why these earlier examples are the most sought after.

Another quirk is that some 330s seem to have left the factory with two knurled thumb wheels on each bridge post. One adjusts bridge height and action, while the other rests on the body, arguably helping tone transfer and certainly stabilising the posts, which can lean and skew intonation.

Taking Shape

Body shapes also evolved, the earliest having very rounded corners and nicknamed ‘Mickey Mouse ears’; these became more pointed by ’63. Body thickness was quite variable, too, and the earliest ES models had thinner tops (4.4mm versus the later 5.6mm), making them even more responsive – and indeed desirable.

This writer discovered this via a fellow UK collector who sourced many of his beautiful ES guitars from world-leading expert Charlie Gelber of OK Guitars in Kent, Connecticut. Charlie has handled hundreds of golden-age ESes, including unique custom orders. Most of his personal favourites have these thin tops and come from a specific serial number and date range in 1959.

The finish colours of 330 models followed that of the 335: three-tone Sunburst was standard, with Natural blonde an option in ’59 and ’60, succeeded by Cherry in ’60 (though Gelber has so far unearthed 19 Cherry-finished 335es from ’59). A two-tone yellow to sepia sunburst, Argentine Gray, also surfaces occasionally.

The first Sunburst Les Pauls show Gibson’s red pigment was famously unstable until early to mid-1960. The earliest Cherry ESes also fade to a much sought-after ‘watermelon’ shade, and a Sunburst that often ages to an attractive ‘teaburst’ was offered by ’65. This writer had one with chrome pickup covers – a very pretty but uninspiring player.

By ’68, the 330’s neck length was brought into line with the 335s and Walnut and Sparkling Burgundy finishes had appeared. A very few Gibsons of the time were custom-ordered in black. Super-rare and highly desired by collectors, solid black is easier to fake than transparent finish, so buyers need rock-solid provenance – and/or a steady nerve!

Next mention must go to Epiphone, which Gibson acquired for $20k in 1957 and had integrated into production ready to be shipped from the Kalamazoo factory in 1959. Made alongside Gibsons, models share craftsmanship but retain distinctive features: New York and then mini-humbucking pickups, headstocks, tailpieces, pickguards and fret markers.

The ES-330-equivalent E230 Casino debuted in 1961, in both double and rarer single-pickup variants; standard finish was Royal Tan, a paler orangey sunburst. By 1962, Casinos had acquired a mother-of-pearl headstock legend, but a few earlier examples (see image 6, above) exist with Epiphone’s previous enamelled metal plate ‘bikini’ logo and dot fret markers.

Unsung Hero

Surprisingly few big-name players are associated with 330s. The great jazzer Grant Green and bluesman Slim Harpo are the most notable, and it was Emily Remler’s main squeeze, too.

B.B. King and Chuck Berry played them in the early days, JJ Cale and Terry Smith (’60s award-winning British jazz player who later founded early fusion band If) also picked up the model, and – perhaps unlikeliest of all – wall-of-fuzzers The Jesus and Mary Chain used them, too.

Likely because of affordability and suitability for rhythm, the ES-330 is quite common in pictures from the early ’60s British scene; influential Animals’ guitarist Hilton Valentine sported one, as did The Stones’ Brian Jones. Latterly, John Mayer has used one to great effect.

The sibling Epiphone Casino had better fortunes as it was taken up by The Beatles, an association that ensured its success and a unique position among Epiphones as the only model that consistently commands higher vintage prices than its Gibson equivalent. Paul Weller, Noel Gallagher and Gary Clark Jr keep the flame alive.

Even at today’s soaring prices, then, 330s are relatively affordable because their fully hollow body means they’re prone to feedback, so they don’t suit higher gain styles. This writer was in Dallas in September 2019, teching for the late Alan Darby when he rejoined Eric Clapton’s band for the Crossroads Festival fundraiser’s finale.

Gary Clark Jr was playing the show and he shared a little of how he managed his signature Casinos at volume. He’d started with the old bluesmen’s’ trick of stuffing socks/rags/t-shirts into the f-holes but had recently found a clever new way: inserting the long thin balloons that kids’ party entertainers twist into animal shapes and, once inside, inflating them to break up body resonances.

Pictured in this feature are this writer’s 1960 Gibson ES-330TN, 1961 Gibson ES-330TC and 1961 Epiphone E230T. All three are in excellent condition, though there is some checking on the blonde model, and a previous owner was careless with a tuning peg winder on the sides of the Cherry model’s headstock.

The Epi is very clean and has never had a neck-heel strap button, so it’s a sitting-down guitar – not a problem, though, as these are the ultimate couch guitars.

But why are the single-pickup models of particular interest? Well, they really can sound better. Consider how Les Paul Juniors tend to fetch more than Specials, despite being less fancy, for example.

Some say the second pickup’s magnetic pull and ‘phantom’ circuit loading both influence tone; the neck pickups on many 330TDs can be quite boomy, while the bridge unit can be contrastingly thin. But the ES-330T’s single pickup is mounted in the middle – the ‘Goldilocks’ spot – meaning the early dot-neck 330T is definitely up there as a must-have guitar.

This year’s MTV VMAs were chock-full of extravagant costumes, a healthy dose of camp, and unadulterated pop. However, the event also delivered three standout guitar moments from three very different artists: Lenny Kravitz, Halsey, and Shawn Mendes, refuting any naysayers still holding on to the claim that “guitar music is dead”.

King of cool Lenny Kravitz treated the audience to a ripping three-song medley comprising his 1993 hit Are You Gonna Go My Way, Human – the funk-rock/new-wave track he released earlier this year – and Fly, a trap-ified remake of 1998's Fly Away featuring rapper Quavo. For the special occasion, Kravitz played his 1967 Gibson Flying V, a model that has accompanied him throughout his career.

By incorporating the Flying V into his performance, Kravitz gave a nod to his iconic Are You Gonna Go My Way music video, which features a 1967 frost blue model factory-restored in a very rare custom color.

In the early aughts, Gibson also released a limited-run signature series custom shop model that mirrors the vintage specs of his '67 Flying V, with personal touches like the gold mirrored pickguard, custom neck shape, and black sparkle finish.

In contrast to Kravitz, Halsey brandished a white Fender Telecaster for her first televised performance of '90s rock-inspired single Ego, from fifth studio album The Great Impersonator, scheduled to be released this October. The artist was also accompanied by Måneskin bassist Victoria De Angelis, who ditched her go-to Danelectro Longhorn Bass for a Fender Precision Bass in a 3-tone sunburst finish.

On previous album, If I Can't Have Love, I Want Power, Halsey worked with Nine Inch Nails' Trent Reznor and Atticus Ross, and even added Dave Grohl and Fleetwood Mac's Lindsey Buckingham to the list of collaborators.

Crooner Shawn Mendes was the third artist to lean on the guitar for his performance. However, unlike Kravitz and Halsey, Mendes opted for a Martin acoustic and tugged at the heartstrings with soulful new track Nobody Knows. Australian singer-songwriter and guitarist Eddie Benjamin joined him on stage, treating the audience to a sweltering Strat-driven solo.

In 2022, Martin teamed up with Mendes on the 000JR-10E Custom Signature Edition, based on the artist's own vintage Martin. The model also marked the brand's largest production of 100% FSC-certified guitars and the Treat You Better hitmaker's first official signature guitar.

This year's biggest winners include Sabrina Carpenter, who took home Song of the Year for Espresso, Chappell Roan, who was awarded Best New Artist, Eminem, who won Best Hip-Hop, Lenny Kravitz, who claimed Best Rock, and Taylor Swift, who bagged a total of seven awards.

Epiphone has honored Jimi Hendrix by unveiling a recreation of his legendary ‘Love Drops’ Flying V.

Aside from his vast array of Fender Stratocasters, the late trailblazing guitar legend was also partial to playing a handful of Gibson Flying Vs at the height of his powers.

One of the most notable examples in his collection was his Love Drops Flying V – a hand-painted, psychedelic-styled electric guitar that became the blues guitar icon’s go-to instrument in the late 1960s.

Specifically, Hendrix extensively played a V between ’67 and ’69, and, according to the Met Museum, is rumored to have played his Love Drops model during his 1967 BBC Radio 1 sessions and on occasions during the recording of Electric Ladyland in 1968.

Originally a sunburst model, the V was later re-finished in Ebony, and, when Hendrix got his hands on it, treated to a custom hand-painted artwork that gave the guitar its ‘Love Drops’ name. Thanks to its graphics, it’s one of Hendrix’s most eye-catching guitars – and perhaps his most psychedelic.

As the tale goes, Hendrix later gifted the Love Drops V to Mick Cox, who removed the artwork and restored the Ebony finish. Having changed hands over the years, the V is now reportedly sporting a restoration paint job.

To celebrate the instrument, Epiphone has partnered with the Hendrix family and Gibson Custom to produce its own replica of the 1960s Flying V in all its psychedelic glory.

The spec sheet includes a mahogany body and one-piece mahogany neck, which features a Rounded C profile and a 12”-radius 22-fret laurel fingerboard. A Graph Tech nut, mother of pearl dot inlays, and a long neck heel joint can also be found.

A pair of Gibson Custombuckers – wired to a three-way selector toggle, pickup-specific volume controls and a master tone parameter – are in charge of tones. As for hardware, a Maestro Short Vibrola is joined by a LockTone Tune-O-Matic bridge and Epiphone Deluxe tuners.

In other words, it's got most of the features you’d expect from an ‘Inspired by Gibson Custom’ Epiphone, but they’ve been joined by some faithful cosmetics that look to resurrect the Hendrix V vibe.

In a year in which we’re witnessing the 70th anniversary of the Stratocaster – and Hendrix’s association with the Fender model is receiving particularly heightened attention – Epiphone seems to be serving a timely reminder that he was also a Gibson player.

“Jimi Hendrix is widely regarded as the most innovative guitarist of the rock era, a player who took the instrument to places no one else had ever gone before,” Epi writes.

“Epiphone, in partnership with Gibson Custom and the Hendrix family, is proud to introduce the Jimi Hendrix “Love Drops” Flying V, an Inspired by Gibson Custom recreation of a guitar that Jimi played extensively from 1967-1969.

The Love Drops Flying V is available in right-hand and left-hand configurations for $1,499.

Head over to Epiphone to find out more.

Back in 2020, Gibson introduced a standard Hendrix 1969 Flying V and 1967 SG Custom, but Jimi’s late history with the guitar firm is a curious one. In 2009, Gibson began developing an electric guitar model based on what the company believed Jimi would have played if he’d been alive.

Michael Schenker has revealed he’s got a Gibson signature guitar on the way, having recently signed on as an official Gibson artist.

The German electric guitar virtuoso has been a Dean endorsee for some time and has even released a series of signature Vs, including a love-it-or-hate-it Flame V in 2007. But he has started playing Gibsons for recent solo shows, prompting MusicRadar to probe further.

“Oh yeah! I have a deal with them and we’re supposed to be coming up with a Michael Schenker signature,” the former UFO and Scorpions guitarist says, adding that he’ll be heavily involved in its creation.

“Usually the company designs something and I approve it,” he explains. “But this time I had an idea and sent it over just a few weeks ago. Now I’m waiting for them to finish it and surprise me with this new model.”

If it's an exclusive partnership, the move will be a loss for Dean, which is currently engaged in a legal battle with Gibson over their use of the V silhouette, among other shapes.

Schenker has been one of Dean's star signature artists over the years. However, before that, his talents had worked wonders in promoting Gibson Vs to the ‘70s hard rock audience.

“Yeah, and I did it all for free [laughs],” he continues. “I think an official Michael Schenker Gibson model will make a lot of people happy. I’m looking forward to seeing how it ends up!”

Dave Mustaine is another former Dean V advocate who has since released signatures under the Gibson family brand, including models with Epiphone and Kramer. It will be interesting to see what form Schenker's own signature guitar will take, and whether it will be released under both the Gibson and Epiphone names.

The timing of Schenker's new signature is handy, too. For his latest album, the guitarist has re-recorded his greatest UFO hits alongside a hefty cast of guests, headlined by Slash and Axl Rose.

Speaking to Classic Rock in January, Schenker says he turned down the chance to join Ozzy Osbourne’s band after Randy Rhoads’ untimely passing in 1982.

“I loved Sabbath, and I should have been delighted to join,” he said. “Ozzy knew that I was Randy’s favorite guitar player, so he thought I’d be the perfect fit, but it wasn’t the right time. I’d left UFO and Scorpions because I didn’t want to go any further with the fame thing, and I wanted freedom and peace.”

Gibson has unveiled its latest Master Artisan Collection electric guitars, which radically reimagine the firm's retro Theodore model in a variety of vintage-inspired formats.

Following the “museum-grade works of art” of its last drop, Gibson has now turned to a more obscure build for its latest Master Artisan expansion pack.

The new-look Theodore Retroliners see master luthier Leo Scala turn his attention to a body shape that remained an idea for more than six decades, before it was unearthed and turned into a reality just a few years ago.

For some context, Gibson’s former president Theodore ‘Ted’ McCarty was pivotal to the firm's successes in the ’50s and ’60s, helping develop the Les Paul, Flying V and Explorer models.

One of his lesser-known designs – originally drafted and dated March 18, 1957 – sought to modernize the electric guitar. It wasn’t until 2022 that the design, named Theodore in honor of its former president, journeyed beyond the doodles.

The Theodore Standard then got its first production run earlier this year, and now Gibson’s master luthier Leo Scala has created his interpretation of the design.

A limited run of 10 Theodore Retroliners have been built by Scala's expert hands as part of the Master Artisan collection, with the Electric Purple variant serving as a particular highlight.

“Leo took the Theodore and added his own creative touches to the design and created gorgeous works of art that are designed to play and sound as good as they look,” says Gibson.

The core idea was to imagine what the Theodore would have looked like had it been released back in the late ’60s when the idea was first concocted.

As such, classic design elements are paired with hot rod-inspired specs. An alder body with a walnut center strip meets a mahogany neck with a C-profile. The neck has been shaped and rounded to Scala's preferences for a well-played-in-feel, with its Indian rosewood fingerboard capped with 22 narrow/tall frets.

A Scala-modified Bigsby bridge continues the classic vibe, which is augmented with an ABR-1 Tune-O-Matic bridge with a custom dog bone base. Gibson says this allows it to “remain steady when using the Bigsby”.

Other appointments include Kluson six-in-line tuners with white oval buttons and a raised metal Gibson headstock logo. All hardware is aged to give it that retro relic chic.

For the Electric Purple's electronics, Scala has employed custom hand-wound Retrophonic humbuckers. There's a “Vault ’58” bridge pickup, drawing its tones with an Alnico 4 magnet (8.3 k DC Resistance), and a soapbar P-90 with a combination of Alnico 4 and 5 magnets (7.9 k DC Resistance).

There are, however, a wide range of other P-90/humbucker pairings across the rest of the Theodore Retroliner family, which offers a diverse set of PAF-style 'buckers. As you can probably see from the images, there are also some crazy, heayv-relic'd finishes on offer, too.

All guitars arrive in a custom G&G hardshell case that sports an embroidered Gibson logo inside. A custom-made Certificate of Authenticity Box, courtesy of Leo Scala, is also included.

As with all the Artisan builds, their hand-made nature, at the hands of one of the best luthiers in the game, is reflected in their cost: $16k apiece.

“While truly a work of art, this isn’t just a show guitar that is designed to sit in a display case; it’s meant to be used to make music, and considerable care has been given to optimize its sound, feel, and playability,” says Gibson.

“As a unique work of playable art, it holds a lifetime of music and inspiration that’s just waiting to be explored and enjoyed.”

The Leo Scala Master Artisan Theodore Retroliners each cost $15,999, and can only be purchased directly through the Gibson Garage.

Head to Gibson to learn more.

In related news, PRS recently dropped its objection to Gibson's Theodore trademark, but the dispute continues outside of the courts.

The Epiphone Les Paul that Noel Gallagher used during the recording of landmark Oasis album Definitely Maybe is set to go up for auction.

The Epi LP will be sold by Sotheby’s, which – owing to the musical and cultural significance of the entry-level electric guitar – has set an upper estimate of more than $100,000, making it possibly one of the most expensive Epiphones of recent years.

Definitely Maybe is widely regarded as one of the most important and influential British rock albums ever committed to tape. Released in 1994, Oasis’ debut studio album introduced the world to hits such as Rock ‘n’ Roll Star, Live Forever, Shakermaker and more.

Many of those tracks were born with the help of this particular Epiphone Les Paul, which can also be seen in the music video and on the cover artwork for the record’s lead single, Supersonic.

According to Chiefs Guitars, the LP in question is Cherry Sunburst example that was specifically used during both the band’s first and second attempts to record the album.

In early ’94, after some creative differences and personnel changes that followed the initial attempt, Oasis set about re-recording Definitely Maybe. This time, Gallagher used this Les Paul – alongside a Gibson Les Paul and Flying V that had both been gifted to him by Johnny Marr – to complete the record.

As per a Sotheby’s press release, that Flying V – which was used to record Cigarettes and Alcohol – will also be going under the hammer.

During Oasis’ early days, Gallagher developed an affinity for Epiphones for two reasons: their affordability, and the fact they had been championed by the Beatles.

Speaking in 2023 during the British Music Experience museum’s 150 Years of Epiphone celebration, Gallagher noted, "I wanted to start playing Epiphones because of the Beatles. I didn't know anything about guitars then.

“They looked good; they felt good, I could make them sound good. I'm a songwriter, not a guitar player. You know, that's my thing. I'm not one of those people who can sit in a guitar shop and play lots of things.

“I will literally play an E chord, and if it had sounded great and felt good, I would have just said, 'Yeah, I'll take it."

Sotheby’s Popular Culture auction will take place on August 29.

Visit Sotheby’s to find out more.

Gibson has given five of its most popular electric guitars a gorgeously striking Dark Walnut finish.

The namesake Dark Walnut Series – top marks for imagination – comprises a ’60s-style Les Paul Standard, SG Standard, ’70s Flying V, Les Paul Junior, and an ES-345.

The vintage-yet-timeless ’70s-style finish has always been one of Gibson's best, but over the years it has been rather hard to come by, often eschewed in favor of some more orthodox finishes. As per Gibson's observations, it “lets the beauty of the natural wood grain shine through”.

However, it must be noted that no walnut has actually been used in the creation of these guitars –it’s a purely aesthetic choice. All guitars except the ES-345 serve up mahogany bodies and necks, with their rosewood fretboards comprising 22 medium jumbo frets.

For the Les Paul and Flying V models, those necks are carved into a SlimTaper profile. On the Junior, it's a ’50s vintage profile, and a more rounded contour for the SG.

The Les Paul hardware specs include ’60s-style Burstbucker humbuckers, an ABR-1 Tune-O-Matic bridge, an aluminum Stop Bar, and Grover Rotomatic tuners with kidney buttons, and a plain maple cap.

The build “pays tribute to Gibson's Golden Era of Innovation and brings authenticity back to life”, says Gibson.

The SG's hardware differs slightly; 490R and 490T Alnico 2 pickups “provide the power to drive”, with those same Grover tuners augmented by an aluminum Nashville Tune-O-Matic bridge with an aluminum Stop Bar.

A pair of ’70s Tribute humbucking pickups, hand-wired to CTS potentiometers and the same chrome hardware as the SG are the headliners on the Flying V. Its fingerboard is also bound.

The Junior, meanwhile, delivers “perfect simplicity and surprising” versatility thanks to its double-cutaway body, wraparound bridge, and Dogear P-90 bridge pickup. As is the tradition with the guitar, there is no neck pickup.

The ES-345 branches out on its own. Concocted with a three-play maple/poplar/maple semi-hollow body, it rocks a solid maple centreblock, while its rounded C-Profile mahogany neck is capped with another rosewood fretboard.

A selection of high-end appointments has been made here, including Calibrated T-Type pickups, a hand-wired control assembly with Orange Drop capacitors, and Vintage Deluxe tuners.

Its lightweight aluminum ABR-1 bridge and Stop Bar tailpiece combo is anchored with steel thumb wheels and studs with gold hardware, giving an extra classy touch.

All Dark Walnut Series guitars are Gibson Exclusives and ship with hardshell guitar cases.

Unsurprisingly, the Junior is the cheapest at $1,699. Ascending in price order, the SG Standard ($1,799), '70s Flying V ($2,499), and Les Paul Standard ($2,599) all follow. At $3,899, the ES-345 stands as the budget blower.

Visit Gibson for more information about the newly released Dark Walnut Series.

Dave Mustaine is continuing to build on his relationship with Gibson, as the Megadeth founder has confirmed that a signature Les Paul is definitely in the works.

“I love what’s going on with my Gibson relationship. I look at a lot of that stuff,” he says in the latest Guitarist issue.

“We’re doing some models, like the Flying V with 24 frets, and we’ve talked about a couple of others and are making them perfect. One of those is the Dave Mustaine Les Paul. It will play like a beast, be a 24-fret guitar, and have the heel shaved down.”

Mustaine previously teased the release of the Les Paul in a 2022 interview with Songfacts, saying, “We're working on the Explorer, and we have a 24-fret Les Paul I finished creating, but this is something for next year, maybe the year after.”

His guitar tech, Bryan Jones, also hinted at a signature Les Paul, posting a photo of what we can only assume is this guitar on social media in November 2022. The post has since been removed.

The guitar, pictured above, has similar black hardware and inlays to Mustaine's signature Flying Vs, with added witch-hat knobs. It sports 24 frets, his signature Seymour Duncan pickups, and a black finish.

So far, the Dave Mustaine collection includes the flagship Flying V EXP model with Seymour Duncan Thrash Factor pickups, the limited-edition and higher-end Flying V EXP Rust in Peace (currently sold out online), and the Songwriter, the first-ever Gibson acoustic with a 24-fret fingerboard.

In addition to these Gibson models, Mustaine has a more affordable line of signature guitars with Epiphone and Kramer: the Epiphone Dave Mustaine Flying V Prophecy, the Custom, and the Kramer Dave Mustaine Vanguard. These models were released last year after being initially announced back in February 2021.

In other Dave Mustaine news, Gibson recently released signature electric guitar strings with the Megadeth leader. The top-heavy set promises to “bring out the best in his signature Gibson guitars” and was unveiled alongside a signature guitar strap.

Budget gear co Harley Benton has launched three new DIY electric guitar kits for aspiring luthiers and hobbyist tinkerers alike to build their own flying V and Explorer-shaped guitars.

The Extreme-76, Extreme-84, and Victory kits deliver all the parts for electric guitars in an Air Fix and Lego-like setup – that is, players will get the joy of piecing their axe together.

As such, there’s a huge scope for personalization; will you keep the natural wood grain finishes they come with, or go wild with the blank canvas to create something more reflective of your personality?

All kits include a body, neck, and all relevant hardware, electronics, and fastenings to get these instruments riff-ready.

The Extreme-76 and Extreme-84 kits deliver Explorer-inspired silhouettes, coming with okoume bodies and necks with a sleek natural finish. They offer 22-fret roseacer fretboards, tune-o-matic fixed bridges, a pair of humbuckers, and die-cast tuners – with hardware chrome in the ’84 kit and black in the ’76.

The ’84 kit comes with own-brand HBZ (bridge) and HBX Active (neck) humbuckers, and nondescript ‘buckers in the ’76.

For those who adore a V-shaped axe, the Victory kit comprises a similar itinerary, save for basswood replacing Okoume for its neck and body. The hardware is chrome and it‘s the ’76's humbuckers here, too.

All three kits are rounded out by two volume controls – one for each pickup – a master tone and a three-way pickup switch.

Strings (.010-.046) are also included – let’s be honest, it would be a travesty if they weren’t – but Harley Benton adds that “some basic skills and tolls are required”.

“These three new Harley Benton electric guitar kits offer musicians the perfect opportunity to build a custom instrument tailored to their style and needs, embracing the DIY spirit and experiencing the joy of playing a guitar you’ve built yourself,” says the Thomann-owned firm.

Some may turn their nose up at the concept of, not only a budget axe, but also one you have to assemble yourself. How good could it be?

The truth is that HB has a tidy reputation for quality builds that don't break the bank – hell, they don't even dent the brickwork.

In recent months, it has dropped a contender for the best-value electric guitar of 2024 in the ST-Modern Plus HSS, a range of Fender-inspired basses, and even dipped into the smart guitar market with the $270 TravelMate-E.

The kits are priced at $117 for the Victory and Extreme-76 sets, and $144 for the '84.

If these new shapes aren't to your liking, there are also HB kits for Strat, Tele, Les Paul, Jaguar, 335 and many more body shapes. It’s fairly exhaustive.

Head to Harley Benton to learn more about its new electric guitar kits.

Back in 1958, when the first Gibson Explorer guitars appeared on the market, there was no heavy metal, hard rock, Marshall stacks or overdrive pedals. Distortion was something that amp manufacturers and players generally frowned upon, embraced only by a handful of hooligans and raucous rebels.

Gibson president Ted McCarty conceived the Explorer’s design as a modern, space age-inspired competitor to the Stratocaster, but its radical sharp-angled “arrowhead” (on the earliest version) and “hockey stick” headstock shapes and pointy geometric body that resembled Thor’s lightning bolt were just a little too futuristic for musicians who still considered crew cuts and suit jackets the height of rock ’n’ roll fashion.

Although the Gibson Flying V, which was introduced at the same time, found a small but devoted cult of players during the late ’50s and ’60s, the Explorer didn’t really catch on until the ’70s. This was partially due to the extreme rarity of the original Gibson Explorers; only 22 were built in 1958-59, and fewer than 50 were assembled from leftover parts during the early ’60s.

There were a handful of “early adopters” during the mid ’70s: Eric Clapton, who acquired a second-hand Explorer with a chunk of its lower bass bout sawed off; Rick Derringer, who owned a very early example with a V-shaped headstock; and J. Geils and Allen Collins of Lynyrd Skynyrd.

Soon afterwards, Explorer copies built in Japan, upscale custom models made by companies like Hamer and Dean and reissues offered by Gibson helped fulfill demand as changing musical tastes and fashion caught up with this rediscovered gem.

Truthfully (IMHO), the Explorer does not sound significantly different from most other Gibson-style solidbody models with a 24 ¾-inch scale, set neck, dual humbuckers and stop tailpiece. It can sing like a Les Paul, bark like an SG and spank like a Flying V, with the pickups installed in it arguably playing a bigger overall role than its tone woods or body shape.

The three controls (individual volume for each pickup and master volume) are perhaps slightly more limited than a four-knob configuration, but that’s hardly a handicap. Some players feel that the extended lower bass bout and extra body mass below the bridge enhance its bass response, but that could just be a psychologically influenced observation.

From Metallica to Mastodon and Kiss to Coheed and Cambria, the Gibson Explorer has become an icon of metal guitar, although numerous non-metal players, most notably the Edge of U2, have also used Explorers on occasion.

In addition to several of the previously mentioned players and bands, Gibson has produced Explorer signature models for Sammy Hagar, Matthias Jabs of the Scorpions, Jason Hook of Five Finger Death Punch and others. The current Lizzy Hale signature Explorer model is very successful, and a forthcoming Dave Mustaine model has been in development for a while now.

The Gibson Explorer might not sound dramatically different from many of its dual-humbucker solidbody brethren, but few guitars look as cool or as menacing. As the Kenny Rogers-look-alike boomer in those old Hair Club for Men ads used to philosophize, “Ninety percent of feeling good is looking good,” and few things feel as good as strapping a Gibson Explorer around your neck and wailing on some power chords.

PRS Guitars has announced it is dropping its objection to Gibson’s Theodore trademark application. However, while legally settled, the personal dispute behind the action rumbles on with both parties debating their respective claims to McCarty’s legacy.

Ted McCarty’s daughter Sue Davies has issued a statement, via PRS, announcing she remains unhappy about Gibson’s conduct regarding the use of her father’s given name, ‘Theodore’.

Gibson, in turn, has shared correspondence with Davies with Guitar World, pointing out that it has been in contact with McCarty’s family – and reasserting that it’s well within its right to use the name.

What is the origin of the Theodore dispute?

The dispute centers around Gibson’s Theodore model, which was first unveiled in 2022. The design is based on an old body shape sketch created during the tenure of the firm’s Golden Era President McCarty, which was later found in the Gibson archives.

McCarty is a name that inspires awe in guitar circles – as the man who oversaw the introduction of the majority of Gibson’s most recognisable models, including the Les Paul, SG, ES-335, Flying V and the Explorer – and the Theodore moniker alludes to that history.

McCarty later found a home and a successful working relationship with PRS Guitars. As a result, PRS currently owns the trademark to the McCarty name – and objected to Gibson’s application to register the allusive Theodore trademark.

The PRS line

On Monday (July 15) PRS issued a statement confirming it has dropped its objections to Gibson’s trademark registration. It also confirms that, in return, Gibson has dropped objections to PRS’s use of the ‘594’ and ‘Silver Sky Nebula’ trademarks.

However, alongside the decision came a pointed statement about what it describes as McCarty’s decision “to align with PRS” and its continuing relationship with the late guitar icon’s family.

“We believe the story of Ted and PRS is well understood in the guitar community,” said PRS Guitars COO, Jack Higginbotham.

“Ted personally chose to align with PRS and had a deep respect and appreciation for Paul and our mission to build quality guitars. We honor the man and the relationship we had with him and the relationship we have with his family to this day.

“While this agreement may not preclude Gibson from releasing future products under the ‘Theodore’ trademark, PRS will focus on honoring Ted McCarty with innovations and instruments that reflect positively on his legacy.”

What do McCarty’s family say?

A further sting in the tail for Gibson comes in a statement – provided by PRS – from McCarty’s sole surviving child, Sue Davis, in which she makes it abundantly clear that the McCarty family is not happy with the introduction of the Theodore model – or the use of the name.

“Our decision not to fight an expensive battle does not mean that the McCarty family appreciates Gibson’s conduct,” says Davis, in a statement provided to the press.

“No one from Gibson ever contacted me or any of my family to ask permission to use my father’s given name in promoting new Gibson products. Had Gibson sought our permission, we would have declined for several reasons.

“After the Theodore trademark was registered, the McCarty family joined PRS in seeking to cancel the trademark and asking Gibson to stop using the trademark ‘Theodore’ in association with my father.

“I would strongly prefer that Gibson respect the family’s wishes and stop using my father’s name as a trademark in promoting products – products that to my knowledge he never approved of for production. Meanwhile, we look forward to continuing the relationship with PRS and its well-regarded McCarty branded products.”

What does Gibson say?

Guitar World contacted Gibson for comment and the firm alleged, in turn, that PRS’s statement was “untrue on a number of levels”, pointing to McCarty’s continued cooperation with the firm in his later life – namely around its 1994 Historic Reissues.

“Ted McCarty was the President of Gibson from 1950 through 1966, he was a legend and was at Gibson for almost two decades,” reads a statement from Gibson.

“At the height of his creative output at Gibson, around 1957 Ted officially designed the Theodore guitar and Gibson owns this trademark. Gibson believed it would be received in a positive way as we have been honoring the legacy of our President during that time.

“The estate nor PRS has any rights to the trademark Theodore. They have never filed for protection of this mark and do not own a registration. Gibson reached out to the estate to collaborate when they showed an interest in the Gibson Theodore trademark.”

While Gibson does not specifically refute Davies’ claim that it did not ask permission to use the ‘Theodore’ name before introducing the model, it has shared a letter with Guitar World – written in reply to Davies in May 2022, following the model’s introduction – in which it discusses the prospect of collaboration.

In the letter – dated May 16, 2022 – the firm outlines McCarty’s contribution to Gibson and notes, somewhat pointedly, that, “More sound has been recorded, produced and performed with Gibson guitars than any other brand, including all the imitators combined.

“The Golden Era was not just Gibson’s, but rather shaped the future of guitars across all brands forever. Mr. McCarty’s direct and successful tenure of nearly 20 years at Gibson is widely acknowledged and accepted by the music industry... These [impacts] are immeasurable and are woven into the fabric of Gibson’s history.”

It also asserts its position “that we are within our rights to reference and promote Mr. McCarty’s extraordinary legacy as a Gibson employee.”

The letter then strikes a more conciliatory tone at its close, inviting McCarty’s daughter to visit Gibson’s Nashville facilities – noting “while respecting your limited relationship with PRS, we would welcome the opportunity to discuss these matters with you directly including ways in which we can collaborate to honor Ted McCarty’s legacy at Gibson.”

What happens now?

Ultimately, it is clear from both parties’ statements that neither side is fully satisfied. PRS and McCarty’s family make it clear that they would still prefer Gibson avoids using the Theodore name and model – and Gibson argues it is perfectly within its rights to do so.

However, neither side is currently pursuing legal action, so it seems that – having both put their spin on it – the current stalemate will persist for the foreseeable future.

Dean Guitars owner Armadillo Enterprises has won the right to a retrial in its ongoing trademark dispute with Gibson Brands.

The dispute refers to Dean’s use of the V and Z shapes, alongside the Dovewing headstock (and several other marks), which Gibson argues infringe on its trademark rights.

Gibson won the initial trial in 2022. However, Armadillo appealed the decision earlier this year, arguing that the Texas District Court’s ruling to exclude certain evidence of the generic nature of Gibson shapes – specifically evidence that originated before 1992 – was an abuse of the court’s discretion.

That ruling by the Texas court meant that in the initial trial, Armadillo was left trying to argue that Flying V and Explorer-style designs – first introduced by Gibson in the late-’50s and much copied since – had become generic in the eyes of consumers, but could only use evidence from 1992 onwards to do so.

On July 8, the 5th Circuit Court of Appeals ruled that decades of evidence pre-dating that period and relating to other guitar brands should indeed have been permitted – and that Armadillo is subsequently entitled to a retrial.

“We are incredibly pleased with the court’s decision,” said Armadillo Enterprises CEO, Pam Rubinson.

“This court’s ruling affirms our commitment to Dean's legacy V and Z models that have been in continuous production since 1977 and reinforces our belief in fair competition within the guitar industry.

“We have always strived to respect the history of guitar craftsmanship while bringing our own unique flair to the market. This is a complete vindication, we have fought this battle and won on our behalf of Dean Guitars and every other guitar manufacturer in the industry”.

Meanwhile, Armadillo’s attorney Ron Bienstock, of Scarinci Hollenbeck LLC – who, notably, previously fought and won a dispute with Fender regarding the genericness of Strat, Tele and P-Bass body shapes – stated:

“Amongst other issues, the court recognized the history of the Dean brand in their longstanding use of these guitar models, as well as countless other guitar companies that have produced and marketed these same guitars.”

While the ruling is undoubtedly welcome news for the Dean producer, it should be noted that the new decision does not reverse the 2022 injunction preventing it from using the disputed shapes.

Instead, it offers Armadillo’s team the chance to make their case again, albeit with more evidence at their disposal.

Gibson, meanwhile, also remains bullish on its prospects. The firm says it plans to appeal the latest decision and has promised that, if necessary, it will vigorously defend its trademarks at the retrial.

A statement provided by Gibson, reads as follows:

“Yesterday, a 3-judge panel of the 5th Circuit Court of Appeals remanded the Gibson v Armadillo case for retrial. The Court of Appeals found that the District court allegedly abused its discretion in excluding certain evidence. Gibson will be requesting all the appellate judges reconsider the panel decision. Gibson is confident that the Texas Judge and jury got it right the first time.

“Gibson’s guitar body shapes are iconic, and it will continue to protect them to preserve its legacy which is critical to protect partners, dealers, artists and fans around the world.

“Gibson, like other iconic American brands, has invested in meaningful research, development and innovation over 130 years, and is confident that in a retrial the jury will again find in favor of affirming Gibson’s well recognized intellectual property rights, rights that have been Gibson’s for decades.”

The documents relating to the appeal can be found using the court of appeals docket number 22-40587.

Gibson has unveiled its latest batch of signature Dave Mustaine products, which sees the brand branch out into the world of signature electric guitar strings.

In the past, Mustaine and Gibson’s collaborations have been strictly electric guitar in nature. The pair previously partnered for Epiphone and Kramer Flying V signature guitars, a Gibson Flying V EXP, and even a signature Songwriter acoustic guitar.

This time round, though, the two parties have turned their attention to the accessory department, with Gibson announcing a new set of Mustaine guitar strings.

Though at first glance this may seem a fairly tame drop, it’s worth noting Mustaine’s is the only set of signature guitar strings currently offered by Gibson. In fact, you’d be hard pressed to find any hint of signature Gibson guitar strings in the recent past, save the Ultra-Light Les Paul-endorsed pack.

It’s certainly an interesting move from Gibson. Could this open the door for future signature strings for its other artists? Possibly – and probably. We’d be quick to rule out a Slash set, though: he’s firmly in the Ernie Ball camp.

Regardless, the Mustaine strings have supposedly been designed to “bring out the best in his signature Gibson guitars” – though we imagine they’d work just fine on practically any electric guitar – and deliver the “powerful, heavy sound and exceptional playing performance” the Megadeth frontman requires.

And, as an extra seal of approval, these are the same strings that Mustaine has been using on all his guitars during the band’s tour. In Gibson’s words, “They’re the loudest, best-performing strings he’s ever used.”

Specifically, they’re a top heavy set, with a gauge of .010, .013, .017, .030, .042 and .052.

The strings have been joined by a signature guitar strap, which isn’t as eyebrow-raising. It joins Adam Jones and Sister Rosetta Tharpe signature straps, and is made from full-grain black leather with and embossed Vic Rattled head artwork.

To find out more about each new release, head over to Gibson.

On my latest release, Blues Deluxe Vol. 2, I covered the Albert King classic You Sure Drive a Hard Bargain. My guitar of choice for the recording was a 1967 Gibson Flying V in Sparkling Burgundy. 

I once had the pleasure of having an audience with all three of Albert King’s main Flying Vs: his 1959 Korina V, which is the guitar he used to record Blues Power at the Fillmore West; his early ’70s custom-made Dan Erlewine V, which has Albert’s name inlaid in the fretboard; and his 1967 cherry red Flying V.

The ’67 V may be less well known than the other guitars but it’s equally important, as rumor has it that Albert used this instrument to cut Born Under a Bad Sign, Crosscut Saw and many other songs.

Warren Haynes once said, “Albert King was the most immaculate blues guitar player because no one played like him before, and everyone played like him after.” I totally agree. You can’t listen to Albert and say, “He got that lick from T-Bone Walker,” because his sound and style are completely unique. 

It may have been of some consequence that Albert was originally a drummer and can be heard on drums, credited as Albert Nelson (his birth name) on recordings with Jimmy Reed. Along with his innate sense of melody, Albert’s sense of rhythm is perfect.

Albert’s great signature as a soloist was his use of string bending, especially “overbends” beyond a whole step.

For our version of Hard Bargain, I used a few specific approaches to emulate his sound. Played in the key of B, with licks based primarily on B minor pentatonic (B, D, E, F#, A), bar 1 of FIGURE 1 features E, 1st string/12th fret, bent up a whole step to F#. I then shift down to 7th position to finish this “Albert approved” phrase.

In FIGURE 2, I begin in the same position, but starting on beat 4 of bar 2, I shift up to 12th position and play two-step bends from D on the B string’s 15th fret. Notice how I catch the G string under the bending finger here, resulting in double-stop bends.

FIGURES 3-5 offer more examples of these kinds of Albert-style bend licks. Notice the “stepped” bending at the end of bar 1 into bar 2, as I combine half- and whole-step bends on the notes D, Eb and E.

When playing this way, I like picking the strings with my thumb, as Albert would primarily do. He also played “upside down” – his guitar was strung for a right-handed player, but he flipped it over and played it left-handed.

As a result, the thin strings were near the top side of the fretboard. Because of this, he would pull them down to bend them, instead of pushing them, which produces a completely different sound.

Whenever I play a solo over a slow blues, I’ll think, “What would Albert do?”, which leads me to playing licks like those shown in FIGURES 6 and 7.

FIGURE 8 illustrates an approach to emulating Albert’s style that was taught to me by the great Larry McCray, starting with the index finger fretting the G string and setting up the big vibratos on the B string, fretted with the ring finger.

A quick glance at recent signature releases might lead you to believe it’s Kirk Hammett’s world and we’re just living in it. There was the purple sparkle edition of his KH95X Cry Baby back in 2022, and then a lot of excitement over replicas of his prized ‘Greeny’ 1959 Les Paul Standard – previously owned by Peter Green and Gary Moore – through the Gibson and Epiphone brands. 

But those who prefer an all-out metal machine may find such tools a little too vintage-leaning in both appearance and design, with one of the PAF-style humbuckers wired upside down and a Greeny Burst finish to replicate the original’s fade from Cherry Sunburst to Lemon after all those decades of heavy usage.

Which is precisely where ESP come in. Following a recommendation from Anthrax’s Scott Ian in 1987, the Metallica axeman has been using their instruments for nearly 40 years, famously relying on horror-themed models like ‘The Mummy’ and ‘White Zombie’.

The new line of KH-Vs, through ESP’s affordable Korean-made LTD brand, are certainly striking, arriving in three loud finishes for a modern twist on Gibson’s classic Flying V shape, doubling up on inspiration by the choice of korina for the body.

Most importantly of all, they come fitted with the guitarist’s signature EMG Bone Breaker set, utilising Alnico 5 and ceramic magnets in the neck and bridge, respectively.

As you’d expect from active humbuckers of this nature, they’re very much voiced for high-gain players, catering to the muscular aggression Metallica pioneered and helped popularise.

Of course, every instrument comes with its own unique compromises and, as is often the case with high-output EMGs, the clean tones aren’t particularly versatile or inspiring.

On the other hand, they’re not as compressed as Hammett’s 81/81 sets of the past – if you’re in a band like Metallica, the less driven sounds are still perfectly usable, as the four horsemen themselves have proven time and time again on live renditions of Nothing Else Matters, Fade to Black and One. 

Other notable appointments include the TonePros Locking Tune-O-Matic bridge with strings coming through the body – increasing both stability and sustain – with more reassurance provided by the locking tuners.

Extra tonal reinforcement is provided by the neck-through design, allowing resonance to travel from the very top of the guitar to its base to produce chords that never seem to stop ringing, while the 24 extra jumbo frets make the Hammett style of soloing as seamless as possible. 

It comes as little surprise that this latest signature is less versatile than the Greeny tributes, though there can be no doubt it’s the perfect weapon to seek and destroy.

Specs

• BODY: Korina
• NECK: Three-piece maple neck-thru
• FINGERBOARD: Macassar Ebony
• FRETS: 24 XJ
• PICKUPS: 2x EMG Bone Breaker humbuckers
• CONTROLS: Three-way toggle, volume and tone
• HARDWARE: TonePros Locking TOM bridge with String Thru, LTD locking tuners
• FINISH: Red Sparkle (as reviewed), Black Sparkle, Metallic Gold
• CASE: ESP Deluxe Hardshell
• CONTACT: ESP Guitars

During Ted McCarty’s tenure as president of Gibson from 1950 through 1966, the company developed some of the greatest and most enduring electric guitar designs of all time. 

In fact, literally every electric model Gibson offers today was designed by McCarty and his team during this golden era, including the Explorer, Firebird, Flying V, Les Paul and SG. These are all timeless models, but McCarty’s semi-hollowbody design for the ES-335 and its numerous variants may be his greatest achievement of all time.

Gibson introduced the ES-335 – the music industry’s very first semi-hollow electric model – in 1958, only six short years after the company’s first solidbody model, the Les Paul, made its debut. 

The 335 was a natural progression of ideas sparked by input from players, who wanted a “best of both worlds’’ instrument that combined the best features of solidbody and hollowbody electrics, namely the former’s ability to be amplified to generous volume levels without feedback and the latter’s warm, round tones and acoustic-like resonance. 

Gibson’s thinline models like the Byrdland introduced in 1955 were a first step toward this goal, but the semi-hollow ES-335 was the ultimate refinement and, as a result, became an iconic electric guitar model.

The 335’s key feature is a solid block of maple extending through the body underneath the strings from the neck joint to the tail block, providing a truly solid center. This block is encased inside a slim hollow body, dividing it into two resonant chamber “wings” on either side of the strings. 

A generous double cutaway design allows easy access all the way up the neck to the 22nd fret, something even the “radical” new Fender Stratocaster model didn’t quite offer back in the day. The crowning touch was a pair of humbucking pickups, which had just started appearing on Gibson guitars around this time.

The 335 became the blueprint for several successful variants, like the fancier ES-345 and ES-355, one of two Trini Lopez models introduced in the mid-Sixties and much later the signature B.B. King Lucille model.

Early 335 guitars often came with Bigsby or Maestro vibrato or trapeze tailpieces, but most players agree that the “money” version is the one with a standard stop tailpiece.

While all of Gibson’s most popular solidbody models have come and gone and eventually come back again, the ES-335 has remained a consistent fixture of its product line since its intro in 1958, mainly due to its incredible versatility.

The list of guitarists who have played an ES-335 at some point in their careers encompasses pretty much every style except classical and flamenco, and that wouldn’t even count the variants like the ES-345/355 models played by blues and rock ’n’ roll icons like B.B. and Freddie King, Otis Rush and Chuck Berry or the Trini Lopez model favored by Dave Grohl.

The following is a select list of songs prominently featuring the 335:

• B.B. King – The Thrill Is Gone (Live at the Regal, using a custom 335 modified with a Varitone switch)
• Eric Clapton/Cream – Badge
• Alvin Lee – I’m Going Home
• Ritchie Blackmore/Deep Purple – Child in Time
• Alex Lifeson/Rush – Working Man
• Andy Scott/Sweet – Action
• Larry Mr. 335 Carlton/Steely Dan – Kid Charlemagne
• Eddie Van Halen – And the Cradle Will Rock…
• Eric Johnson – Cliffs of Dover
• Pepper Keenan/Down – Stone the Crow
• Peter Hayes/Black Rebel Motorcycle Club – Red Eyes and Tears
• Chris Stapleton – Second One to Know

Gibson has shared a series of previously unpublished sketches from the 1950s that have altered guitar historians’ understanding of the development of models like the Explorer and Flying V. They also, potentially, offer a clue to the evolution of the ES-335.

The images were rediscovered by Gibson’s in-house history buffs, VP of Product Mat Koehler and Director of Product Development and Gibson Archives Curator Jason Davidson, and seemingly led to the development of the recently released Theodore model.

The sketches are thought to have been created in conjunction with Chicago design firm Painter Teague & Petertil (PTP) in 1955 at the behest of the firm’s golden-era CEO Ted McCarty. 

Koehler tells Reverb that he first saw some of the sketches in Walter Carter’s reference book Gibson Guitars: 100 Years Of An American Icon. 

“Rediscovering the drawings in Walter’s book prompted a search through Gibson’s archives to see if they were still there,” says Koehler, who notes it was Davidson that eventually found them.

“That was the first time we understood when the drawings were made. They’re dated November 14th 1955, and that just blew us away.”

The year is significant because the sketches contain images of an Explorer-like headstock that predate the launch of that model by some three years. You can also see what are likely early concepts for shapes like the Moderne.

In addition, Koehler believes that the predominance of thinline designs among the sketches is evidence that the firm’s iconic ES-335 (announced in 1958) was being conceived alongside the Modernistic lines as far back as ’55.

“Those wacky designs, I think came all around the same time, for a few years, where Gibson was trying to get to what became the Modernistic guitars, the Explorer and Flying V,” Koehler tells Reverb.

“But I think there were actually two paths. One was the wild pointy-shape things. The other path was what I believe led to the 335.”

One final aspect of these designs that seems to have gone unmentioned so far is the similarity of some of the headstock sketches to Gibson’s unreleased ‘headless’ Futura prototype.  

That model arrived some 26 years later and was thought to be mere myth until Gibson’s Mark Agnesi found an example in storage at Gibson. 

Notably, the 'headless' Futura was developed around the same time as the 1980 Moderne reissue. The original Moderne debuted during the McCarty era (at the same NAMM show as the Flying V and Explorer) but was soon canned after it got a poor reception. 

However, it seems feasible that when Gibson returned to the design in the early ’80s, it may also have taken the Futura headstock from the same point of inspiration, possibly these same 1950s drawings. 

Furthermore, the model name Futura was also used on an unreleased 1957 Gibson prototype, so we know the design team of the era was clearly exploring the McCarty era archives.

Who knows? It may be mere coincidence but there’s definitely more than a passing similarity to GW’s eyes...

You can read the full interview with Koehler – penned by our own go-to guitar historian, Tony Bacon – over at Reverb. 

When Gibson launched its Master Artisan Series of electric guitars in 2022 with an extremely limited run of Leo Scala-designed Flying Vs, it kickstarted a series that has seen the firm go on to celebrate a couple of its standout luthiers. 

Since that initial drop, more ultra-exclusive Leo Scala creations have extended the range to include a Les Paul, SG, and Theodore, while Gibson’s in-house artisan master Rickie Hinrichsen has also delivered three Les Pauls and an amp to the series.

Now, Hinrichsen is back with an even bigger collection of one-of-a-kind bespoke builds, which are quite unlike any other Gibson Custom Shop guitars we've come across.

Growing up in a small Nebraskan town, Hinrichsen is described by Gibson as “the kid in school who was always drawing”.  He started his life at Gibson as a binder and soon forged a formidable reputation for his carving skill, before eventually becoming the Custom Shop’s in-house artist.

His second collection for the Master Artisan Series has produced “museum-grade works of art” that, despite their fastidious craft, are fully functional. 

“These guitars are all playable,” says Hinrichsen. “Whether they’ll get played or not, I don’t know, but there is good mojo in them from start to finish. There is nothing in these guitars that isn’t made from pure joy. I hope they’ll bring joy to their new owners, too.”

Gibson Henna 1 Guitar & Amp Set

First up is the already-sold Henna 1 guitar and amp set. Inspired by the Middle Eastern Mehndi designs used in henna art, the visuals are literally wood burnt into the guitar – in this case, a Les Paul Custom – and its accompanying tweed amp, for a finish that can be seen and felt in equal measure. 

The Les Paul features a mahogany body and neck, and a maple top. It boasts Custombuckers, brushed chrome hardware, Grover tuners with Tulip buttons, and zebra wood knobs. 

The Mesa/Boogie California Tweed 4:40 Head and 1x12 23” cabinet look equally classy, with wicker cane grilles and wood-burned artwork.

Gibson Psychedelic Art 2 Les Paul Custom

The collection's second Les Paul Custom journeys down a far more psychedelic path. Its vivid hand-painted hardware and mahogany body pairs a maple top with a mahogany modern medium C-profile neck and ebony fretboard, atop which the body's design continues, painted over its mother of pearl inlays.

It again features Custombucker humbucker pickups and Grover tuners, with painted-over kidney buttons. Hinrichsen has left no stone unturned with this design, even going so far as to string up yellow strings to better blend in with his magic mushroom visage.    

Gibson Mayan Mosaic 1958 Korina Explorer

Moving on, a 1958 Custom Shop Korina Explorer is given a Mayan flourish with its hand-painted finish, designed to look like mosaic tiles, standing as a tribute to the Mesoamerican style of the Mayan civilization. 

Brushed gold hardware, as well as true historic black control knobs, jut out against the bright and bold design. There are no covers for its Custombuckers, with Hinrichsen instead painting over its coils.  

Gibson Old West 1 Les Paul Custom

Another Les Paul Custom, this one tips its hats to the “rough and tumble days” of the Wild West. It again comprises a mahogany one-two for its body and neck, with its rootin' tootin' design carved into its top, which is given a tung oil finish. 

The maple fretboard continues the design, which is burnt into the wood, conveying a stagecoach robbery motif that spans across its frets. 

It offers one pickup in the bridge – a black dogear P-90 pickup with gold screws – with gold hardware and maple top hat knobs serving as the final touches of in-spurr-ation for this sharpshooter LP. 

Gibson Mediterranean Mosaic 1958 Korina Flying V

Last but not least is another Mosaic-inspired design, which takes its cues from the Mediterranean. A 1958 korina-bodied flying V featuring a korina neck with a '50s vintage neck profile and Indian rosewood fretboard, its aesthetics come via a combination of carving and painting from Hinrichsen's hands. 

Like the Explorer, brushed gold hardware and true historic black control knobs accentuate the light blue, black, and white mosaic artwork, with Custombuckers once again serving as the pickups of choice. 

All the guitars feature vintage taper potentiometers and “phone book” tone capacitors, and come with a hardshell case and Certificate of Authenticity. A custom strap is also included to further each instrument's unique design.  

No prices for the guitars have been listed, but we imagine they'll each set you back a pretty penny. After all, you'd be hard pressed to find a catalog of guitars that rivals this one for sheer aesthetic ambition. 

For ordering information for one of these one-time builds, interested readers can call Gibson's Nashville guitar garage at +1 (615) 933-6000.  

To learn more about these intricate releases, head on over to Gibson. 

The Gibson Garage London – the guitar giant’s first flagship store outside of the US – officially opened its doors today, accompanied by two longtime champions of the brand, Jimmy Page (who announced his own multi-guitar partnership at the event) and Black Sabbath legend Tony Iommi.

But standing between them was someone less associated with Gibson headstocks: Brian May.

“We are so proud to have him in our Gibson family,” enthused Gibson President and CEO Cesar Gueikian. “From a little band called Queen… Brian May!”

For us grizzled guitar journos, the curly-haired virtuoso’s entrance was a surprise, to say the least. The Queen icon is rarely seen without the Red Special, the guitar he built with his father – and he’s been selling mass-produced versions of it under his own brand, Brian May Guitars, for 20 years.

(Yes, history buffs will note that May did play a Chet Atkins SE nylon-string back in the ’80s, while a Flying V and Les Paul Deluxe acted as backup electrics, but given that’s not exactly common knowledge, we don’t think that’s what ushered him into Gibson’s inner circle.)

So what does this all mean? Try as we might, Gibson reps were tight-lipped about what their relationship with May had in store. But we have our theories.

As of 2004, Brian May Guitars manufactures mid-priced, sub-$1,000 versions of May’s trademark instrument, assembled in South Korea and produced under the watchful eye of May’s longtime tech Pete Malandrone and House Music’s Barry Moorhouse. They come in a wide variety of colors, with idiosyncratic pickup switching faithful to the Queen icon’s original.

But what BMG doesn’t do is build the kind of awe-inspiring, meticulous replicas that the Gibson Custom Shop and Murphy Lab are known for. And wouldn’t that be a smart idea?

We know May has had slavish Red Special recreations built in the past for the Bohemian Rhapsody biopic, but those were very much not-for-sale. If Tom Murphy and co can lend their considerable talents to reproducing every nook and cranny of one of the electric guitar’s most truly unique instruments… well, that’s very big news indeed.

May is no stranger to partnering with other firms, of course – he has licensed his guitar designs to Guild and Burns in the past. But it’s been over two decades since he last released a guitar that wasn’t under the Brian May Guitars banner.

We’d wager May’s old buddy – and jamming partner – Tony Iommi had something to do with the new partnership, having worked with Gueikian and Gibson on the ‘Monkey’ 1964 SG Special replica back in 2020. May was clearly impressed with the results.

But assuming a replica is on the cards, what could be next? Given Gibson’s trickle-down release schedule – known as ‘anchoring’ in the biz – we might reasonably expect a USA-built Red Special in the coming years.

But surely an Epiphone version would compete with May’s own brand? We’re fascinated to see what the partnership has in store. Watch this space…

For more on the Gibson Garage London, including what makes it quite unlike any other guitar store, check out our exclusive behind-the-scenes coverage.

Gibson is vying to make some of its standout guitars even more standout, as a total of 11 new electric guitars are unveiled in unique colorways. The range includes silver and gold sparkle ES-355s as well as Murphy Lab aged 1957 Les Paul Junior reissues, ’64 ES-335s and SGs, and an Explorer and Flying V.

Standing front and center is its reissue of the 1959 ES-355, which now boasts silver and gold sparkle heavy flake gloss finishes (see the bank account-bothering image above). Adding further glitzy luxury are diamond f-holes and a split diamond inlay on its headstock.

Its ebony fretboards, meanwhile, are emblazoned with mother-of-pearl block inlays and comprise 22 medium jumbo frets.

They’re not just about looks, though. Unpotted Custombuckers are in place to deliver “beautiful vintage-style tones” when they're not locked away in its pink, ‘50s-style Lifton hardshell case that they come with.  They both cost $8,199. 

There’s also a host of Murphy Lab-aged finishes in the range, which combines the “worn-in look of a heavily played vintage instrument with the reliability and readiness of new components.”

A Gibson custom 1957 Les Paul Junior gets this treatment. The single-cut guitar offers a ‘50s rounded medium C-neck profile and a simple but effective singular Dogear P-90. It’s available in a vintage sunburst finish.

Offering a few subtle differences is a 1958 Les Paul Junior. It sports a double cutaway body and the same neck and pickup combination and is finished in a worn a TV yellow finish. 

These guitars are complemented by Lifton Historic 'Gator Skin' hardshell cases, which are included in their $6,499 price.

It’s a one-two for its Gibson Custom 1964 ES-335 reissue models, which come in Vintage Burst or ‘60s Cherry. Both feature a custom-made Bigsby plate for a guitar that Gibson says is “brimming with character.”

Another medium C-neck is at play here, with their fretboards adorned with small block inlays. They both feature vintage-style electrics. Owning one will cost you $8,099, which includes its Lifton black and yellow hardshell case.

Inspired from 1958 are two Korina builds available as Explorers and Flying Vs. Both guitars are given Ebony finishes for that coveted ‘tuxedo’ look – something the brand has recently given to four Custom Shop acoustic guitars, with delectable results. 

The Explorer combines an ABR-1 bridge with unpotted Custombucker pickups and a two-piece body and neck. The Flying V sports the same gold-covered pickups and adds even more gold hardware for a sleek secret agent feel.

These two sharply dressed builds represent the pricier end of the range, coming in at $11,499 each. Their "historically accurate" cases feature a classic brown exterior and a plush pink interior for a Barbie's Dream House feel. 

There are two finishes and pickup combinations for its 1962 Les Paul SG Customs. Both share the same ebony Block Vibrola tailpiece, which signifies a key moment in the SG’s lineage as it began to move away from Les Paul branding, but go their separate ways when it comes to the electronics. 

The Cherry model offers two humbuckers, which are again unpotted, with the Classic White model adding in a third Custombucker.

Les Paul truss rods and Kluson tuners are common across both as Gibson looks to offer the “perfect mix of historical detail and premium quality.”

The pickup differences are reflected in their prices. The triple-humbucker Classic White finish comes in at $7,999. It's $6,199 for the Cherry model.

Last but not least, Gibson has given its Les Paul Modern Lite a striking TV Pelham Blue finish. In what it’s calling the “dark horse of the set”, it features a slimmer all-mahogany body and ribcage contour for improved playability.

There’s also a SlimTaper mahogany neck with a rosewood fretboard, which is partnered with open-coil 490R and 498T humbuckers.

Notably, this is the only guitar to come in a softshell, rather than a hardshell case. The shiny blue axe costs a far more modest $1,499.   

This isn't the only new Gibson Les Paul Modern Lite to have dropped recently. Guitar World recently sat down with two very different models with varying specs and price points. You can find out what we thought in our in-depth review. 

The humbly priced guitar rounds off a stellar-looking range with Gibson giving "Iconic classics an irresistible twist."

For more information, head to Gibson. 

As we noted in our previous story about the Epiphone Dave Grohl signature DG-355, Gibson is not partaking in the NAMM 2024 industry group-hug, but has nonetheless capitalized on the industry influx to LA by offering its own 2024 preview event at its artist showroom yesterday (January 25).

While these things are often fun – it’s always good to try out gear – they can be a bit of a damp squib when it comes to actual announcements, but Gibson did not disappoint – surprising us all with an extensive preview of its forthcoming gear. 

The headliner for us has to be the Epiphone Dave Grohl, as mentioned, but we also saw a new Slash signature Gibson Les Paul, an enlarged Dual Falcon take on its recently revived Falcon amp, a pair of stunning Epiphone Inspired by Custom Shop Firebirds, alongside the return of the Theodore, new acoustics and more. 

Let’s lay out a little of what our resident kid-in-the-candy-store (i.e. Editor in Chief, Michael Astley-Brown) managed to capture while in attendance at the definitely-not-a-NAMM event.

Gibson Slash ‘Jessica’ Les Paul

This Honeyburst Slash signature guitar is based on the factory second model that the Guns N’ Roses icon picked up and began using in earnest as his go-to stage guitar from 1988. It’s got a mahogany body, three-piece plain maple top and a 50s neck profile with an Indian Rosewood fretboard. Then there’s a pair of uncovered Custom Burstbuckers, and it comes with pre-installed Schaller strap-locks for that pro player/stage-ready touch.

Epiphone Inspired by Gibson Custom Shop 1963 Firebird I and Firebird V

The Epiphone Inspired by Gibson Custom Shop line previously brought us the highly-rated Epiphone Greeny and the Korina Flying V and Explorer, and these are the latest offerings in the firm’s premium offshore range.

We love the Inverness Green finish and single pickup simplicity of the fancy Firebird I reproduction, though there is a double humbucker/Maestro vibrola equipped Firebird V (in Frost Blue or Ember Red), should you want more bells and whistles.

Both have a nine-ply mahogany body and walnut neck (in a neck-through construction) with mahogany wings, plus Kluson ‘Planetary’ style tuners, and Gibson USA Firebird mini humbuckers. 

We predict two outcomes: many of us will consider buying our first Firebird – and there will be some ‘debate’ on the price tag.

Gibson SG Supreme

The SG Supreme turns Gibson’s electric workhorse into a dressage pony – and is set to make its return in 2024 for the first time since Gibson’s 2018 takeover/subsequent turnaround. 

Expect a mahogany body paired with a triple AAA maple top, and a mahogany neck with an ebony fretboard and flashy split block inlays. It’s loaded with gold Burstbucker Pro humbuckers, plus a push-pull coil tap and a host of other luxe appointments.

Gibson Theodore Standard

Golden-era president Ted McCarty’s previously-unreleased design, the Theodore, was brought to vivid life by the Gibson Custom Shop team in 2022 and now, for the first time ever, it’s set to join the standard line-up. 

This time it’s got a mahogany (not alder/walnut strip) body and neck – and comes with ’57 Classic humbuckers, as opposed to P-90s. It’s quite the statement to bring it into the main line-up, so it will be interesting to see how these fare in the wider market.

Gibson Dual Falcon 20 amp

It’s no surprise that Gibson has more products in the works for its recently revived amp brand – especially as the new Mesa-made Falcon 5 and 20 seem to be very well-received so far. The first follow-up will be another installment in the Falcon, er, flock, in the shape of this Dual Falcon. 

Product details were not on hand for this one, so we can only speculate, but it looks like a two-channel take on the Falcon 20, with independent volume, tone and reverb controls, plus a master tremolo. 

Again, you get the two inputs and Full/Half/Low power break options. However, they they seem to operate independently on each channel, meaning, you could potentially drive one side to full-on dirt and the other to high headroom heaven. 

New Gibson acoustics

Unplugged players are still set to get some love in 2024, with a new rosewood back/sides take on Gibson’s go-to dreadnought, the J-45 (with an LR Baggs under-saddle VTC pickup and preamp). 

Then there’s a surprise Custom Shop return for the Gibson Everly Brothers J-180 – last seen in production in the early-’00s. Some regard it as the most beautiful Gibson acoustic ever made, others debate the controversial tonal qualities of the (huge) double-sided ‘moustache’ pickguard, then there’s the unique spec – including a maple body, sitka spruce top, star inlays, and an ebony nitro finish. 

Either way, we’re happy its back and pleased to see Gibson giving players the option to decide for themselves…

That’s it from our reporter on the ground in LA. We don’t have release dates or prices for any of the above yet (though we know the aforementioned Epiphone Dave Grohl is due in March), so stay tuned for more detail throughout the year.

In the meantime, you can also keep an eye on Gibson for more information.

Many people think of Epiphone as the budget version of Gibson, and while that isn’t completely untrue, they do have a rich history that goes beyond being bought out in the late ’50s. Epiphone has been making instruments for over 150 years now and you’ll actually see many of the best Epiphone guitars being used in studios and on stages around the world by amateurs and pros alike.

Starting out making lutes, banjos, acoustic guitars and other instruments, Epiphone was acquired by Gibson in 1957 and remained in the US until 1970. Production then moved to the Far East and that’s where most Epiphones are made today. 

Epiphone produces more affordable versions of Gibson’s most popular models – the Les Paul, SG, Explorer and more, but they do also make some guitars that are exclusive to them, like the Casino. The quality of Epiphones is very, very good – you might even find that the certain Epiphones give some of the cheaper Gibsons a good run for their money.

There are lots of different models on offer, with many of them looking the same; they even have incredibly similar names too. We’ve picked out what we reckon to be the best Epiphone guitars on the market right now. We have only included electric guitars (they make so many good acoustics that it wouldn’t be right to include just a few here!), and we have stayed away from the more expensive USA-made models.

Best Epiphone guitars: Quick list

The best Epiphone guitars available today 

Best Epiphone for tone

One of the most talked about guitars of 2023, the Epiphone version of Kirk Hammett/Peter Green/Gary Moore’s ‘Greeny’ Les Paul, whilst expensive, is probably the best new Epiphone guitar you’ll get your hands on. In a lot of ways, it’s a Gibson in all but name – it’s got the open book style headstock, Gibson Custom Shop pickups, plus if you close your eyes and play it, you’ll convince yourself you’re playing a full-fat USA Les Paul.

Yes, it’s expensive for an Epiphone made in China, but honestly, it really is a fantastic electric guitar. It’s made incredibly well, it looks amazing, especially with its satin-style finish, and it really sounds the part too. The Gibson Greenybuckers fitted in this guitar are almost identical to the ones you get in the Custom Shop version (the difference is that these are wax-potted). They dish out the highly sought-after vintage PAF tone really well, though these perhaps sit at the hotter end. If you’re seeking classic rock or old-school blues tones, then the Epiphone Greeny is a perfect choice; that said, stick it through a really distorted amp and you’ll still get great results. 

The Epiphone Greeny is very much inspired by the much more expensive Gibson models, and whilst expensive for a Chinese-made guitar, still comes in a lot cheaper than those and doesn’t compromise on quality. 

Read our full Epiphone Kirk Hammett Greeny 1959 Les Paul Standard review

Best Epiphone for punk

What you can’t do with two P-90s, a volume and tone knob for each and a three-way pickup selector, we don’t want to know about. The Les Paul Special is a real back-to-basics rock and roll machine, but it’s also really versatile. 

Sitting sonically somewhere between a regular single coil and a humbucker pickup, a P-90 can give you the best of both worlds. They’re bright and cutting without sounding thin, and they can be beefy and thumpy without being muddy or boomy. Whether you’re playing clean or driven, they stay articulate and clear, plus if you’re playing through a distorted rig, they’ll clean up nicely as you back the volume down. 

The design is as stripped back and simple as you can get without sacrificing any sort of versatility or practicality, and the TV Yellow finish is an absolute classic. Great value, and definitely one of the best Epiphone guitars out there. 

Read our full Epiphone Les Paul Special TV Yellow review

Best Epiphone overall

The Casino is a guitar in its own right, in that it’s not a direct copy or recreation of a Gibson model (though it is similar to a Gibson ES-330). Used by the likes of the Beatles, Paul Weller, Gary Clarke Jr, Elliott Smith and loads more, the Casino is a hollowbody guitar fitted with a pair of P-90 pickups – and for us, is definitely one of the best Epiphone guitars out there.

The hollow body helps it resonate really well, both unplugged and amplified. It does also mean that it’s more prone to feedback if you’re using a fair bit of gain, though when used carefully, this can actually lead to some really cool results – you can get notes that last forever when controlled right! The pickups have plenty of midrange and top end bite, so you’ll cut through the mix nicely, plus they compress slightly in all the right ways. 

The trapeze tailpiece adds a touch of class, and the Vintage Deluxe tuners keep your guitar in pitch whilst retaining the vintage aesthetic. Unless you’re playing really heavy music, there isn’t much this instrument can’t do – no wonder it’s been a best-seller since the early ’60s!

Best Epiphone for style

This is another model made in partnership with Gibson’s Custom Shop. This one takes us back to 1958, and what at that time was a radical new guitar shape – the Flying V. Even now, it’s one of the most striking guitars there is. Also, while it might be on the more expensive side of things for an Epiphone, this is a pretty good recreation of one of the rarest and most valuable guitars ever made. 

The Epiphone ’58 Flying V is made using korina wood, like the originals. It’s also fitted with Gibson Burstbucker 2 and 3 pickups, and high quality electronics. It’s a great sounding guitar – powerful, but dynamic. Whether you’re into heavy metal or slow blues, the ’58 Flying V can cater for it all, and look insanely cool whilst doing so. It’s not the easiest guitar to sit down with, though the rubber knee rest strip on the bottom of the body does help. 

It’s a fantastic recreation of a legendary guitar, built very well with some high quality electronics inside. All in all, one of the best Epiphone guitars on the market. 

Read our full Epiphone 1958 Korina Flying V review

Best value for money

It doesn’t get much more classic than an old-school Les Paul. The Epiphone Les Paul Standard 60s is a modern recreation of some of those early Les Pauls. A vintage Gibson would likely set you back hundreds of thousands; this one, a matter of hundreds. 

Like all other Les Paul Standards, this one has a mahogany body topped with a maple cap. It’s got Epiphone’s ProBucker 2 and 3 pickups in there that deliver the perfect classic rock tone, though should you want to play heavier music, the bridge pickup in particular will allow you to do that just as well.

In comparison to the ’50s version, the ’60s model has a slimmer neck which many players find more comfortable, especially if you use your thumb to reach around the top of the fingerboard. It’s also got a set of fantastic Grover machine heads which do a great job of holding the guitar’s tuning, and there are also some really nice finishes available. 

Best Epiphone for metal

Looking at this guitar, you might think that its most striking feature is its shape – it’s a really cool cross between an Explorer and a Futura, hence the name. However, we think the pickups are probably the star of the show here.

The Epiphone Extura Prophecy is fitted with a pair of Fishman Fluence Proprietary pickups that offer you three distinct tones. The first is the classic Gibson PAF tone, so if you want to cover some classic rock territory, then you can. You’ve then got a modern, high output voice that’s perfect for contemporary metal and other heavier styles of music, plus a beautiful, glassy single-coil sound. This makes it supremely versatile, allowing you to change sounds quite drastically at the flick of a switch.

Add into the mix some high quality hardware, slim neck profile and some insane finishes and you’ve got what has to be one of the best Epiphone guitars out there, particularly for more modern players.

Best for playability

The Gibson SG really is a do-it-all guitar; whether it’s blues, rock, metal, country, pop or whatever else you’re playing, the SG – in particular this Epiphone 60s Maestro Vibrola – can tackle everything. It’s a guitar based on a model from 1961 and is dripping in vintage mojo. There have been a few changes to bring it more in line with the needs of modern players though: there’s a slimmer neck profile, 12” fingerboard radius and medium jumbo frets, making it superbly playable all over the neck.

The pickups are Epiphone ProBucker 2 and 3; the latter being slightly overwound in the bridge position leading to a higher output that sounds immense through a high gain rig. They’re inspired by some legendary Gibson pickups, so they deliver that classic warm PAF-style sound that so many people are after. The old-school vibrola allows you to add some subtle vibrato when it’s called for, though it might not give enough for those wanting more extreme dive-bombs. 

Best Epiphone for jazz

Now this is a guitar that screams class. It’s a design that has been around for over 70 years and is perfect for guitar for jazz. The hollowbody design gives it plenty of resonance, and a deep, luscious tone, further enhanced by the Alnico Classic PRO humbuckers. 

With it having two pickups, and a volume and tone knob for each, you can get a variety of sounds from this guitar. The maple body does lend a touch of brightness to the sound, which means that it works for a lot more than just jazz – old school rock and rollers will love it, as well as blues and country players too. Dial back on the tone knobs though and you’re instantly back in that dark, warm jazz tone territory. 

Wine Red and Sunburst are two classic color options, and the Frequensator Split Trapeze tailpiece is a beautiful finishing touch. It’s also got a very playable Slim Taper ’60s C neck profile and sturdy, quality tuners. 

Best Epiphone guitars: Buying advice

Body shape and weight considerations

The body of the guitar can have a big impact on how comfortable it is for you. Something like an SG or Les Paul is generally pretty comfortable to play standing up or sitting down, as the curves of the body allow for it easily – a Flying V not so much!

Also bear in mind the body construction. A Les Paul Standard has a mahogany body topped with a maple cap, which can end up being fairly heavy. A Les Paul Special does away with the maple cap, so will generally be lighter; the same goes for most SGs. A hollowbody is likely to be even lighter still, so if you’re standing up playing for long periods of time, then that could be worth considering. Just remember though that a hollowbody guitar is going to be more prone to feedback. 

How we choose products

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best Epiphone guitars available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best Epiphone guitars on the market right now.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

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Gibson has expanded its One of One Custom Shop collection with three ridiculously good-looking Flying Vs, which give the rock ‘n’ roll stalwart a surf-y SoCal twist.

On the surface, the trio of electric guitar rock machines are based on one of the most elusive vintage instruments of all time, and look to revive the hallowed Korina Flying V template, which was first introduced back in 1958.

However, rather than retaining the original Natural colorway – or opting for Ebony, Cherry or Vintage White finishes – Gibson has instead kitted out its latest Custom Shop builds with some eye-popping alternatives.

Namely, these three Vs are available in Kerry Green VOS, Frost Blue VOS and Antique Pelham Blue.

Sure, we’ve been treated to some aesthetically intriguing Vs over the past few years – think the Adam Jones Reverse Silverburst, Richie Faulkner Pelham Blue and Kirk Hammett Purple Metallic signature models – but dare we say these might be the best of the bunch.

After all, when have you ever seen a surf-y green or pastel blue finish strapped to the body of a '58 Korina Flying V?

As mentioned, these three beauties take functional cues from the original ‘58 Korina V, meaning as well as the flashy new lick of paint they all boast classic Gibson spec sheets. Korina is used for the body and ‘50s profile neck, while Indian rosewood is used for the 22-fret 12”-radius fingerboard.

Elsewhere, each build boasts a true ABR-1 bridge with a string-through-body design accommodated by the Lacquered Brass Chevron tailpiece, as well as a four-ply white pickguard, Kluson Single Ring tuners, aged gold hardware and True Historic Black knobs.

As for pickups, a pair of Custombuckers – with aged gold humbucker covers – are wired to two volume controls, a master tone parameter and a three-way toggle switch.

‘58-style Flying Vs with pastel finishes? These things will practically sell themselves. There’s a slight hiccup, though: owing to the nature of the collection they are a part of, each model is a one-of-a-kind build. That, and they cost $11,000 apiece.

If only these were introduced as part of a standard run series. Non-korina-style additions to the burgeoning Custom Color series, perhaps? We can only hope. And while we’re on the topic, here’s hoping Gibson add some surf-y finishes to the Epiphone Flying V range. That’d be sure to go down well with players…

Head over to Gibson to browse the rest of the One of One Custom Shop collection, which also features one-of-a-kind Les Pauls, SGs, ES-335s and other models “inspired by suggestions from the Garage Pros in the Gibson Garage”.

One of the worst kept secrets of 2023 was this Epiphone ‘Greeny’. “The Gibson USAs are great,” Kirk Hammett told us, “but my favorite version of Greeny is probably the Epiphone.” Except no-one outside of Gibson knew anything about it!

For some, that marketing blip – which came just at the time Gibson was actually launching its USA production version of Greeny – might have been a bit of a PR disaster, but it’s just another footnote in the continuing story of this 1959 Les Paul that was once owned by Peter Green. They say guitars have stories, but there’s a War and Peace-sized book on this one. And probably a second volume, too.

Yet even though the far-from-secret launch of this guitar has barely passed, our forum friends got into quite a lather. At £1,499/$1,499, it might be half the price of the USA production guitar, but in terms of Epiphone, that’s pretty salty, isn’t it? 

In its defense, this new Greeny is an ‘Inspired by Gibson Custom Shop’ Epiphone: an elite collection that includes a 1961 Les Paul SG Standard, a 1959 Les Paul Standard, and a 1958 Korina Flying V and Explorer. 

While these range in price from $879 to $1,299, it’s the ’59 Les Paul that interests us. Its full list price is $999, and it comes in two colors. Greeny, then, is less a completely new release – it’s the existing 1959 Les Paul Standard in a single color and with a pickup swap... for quite a bit more money.

Epiphone says that these ‘Inspired by Gibson Custom Shop’ guitars aim to “recreate inspired versions of legendary instruments for every stage” – and Greeny is the perfect fit. So is its tan-colored hard case. But when we lift out our new Greeny model, the first thing we notice is the weight: at 3.91kg (8.6lb), it’s lightweight for a Les Paul, old or new. 

So it’s a good start, but the very next thing we notice is the finish. Obviously it’s not relic'd to match the original, but the top is what looks like off-the-gun satin – there’s a slight texture to it and it’s more matte than satin. However, the back, sides, and neck back have a beautiful satin sheen that’s super smooth to the touch and a big difference to the over-glossy finishes we still see on way too many Eastern Asian guitars. This finish has some serious class.

The top’s flame maple is a veneer that sits on a nicely dished solid maple top. Its light yellow color looks a little like one of those recent Faded Les Pauls, but it’s superbly bound, and the top edges well rounded – unlike the sharp edges of the USA Greeny we looked at earlier in the year. Through the dark brown tinted back finish you can clearly see some very classic mahogany-like grain pattern and that it’s a two-piece, center-joined spread. 

The neck appears to be one-piece mahogany with a narrow tenon that extends into the body under the neck pickup. The fingerboard is Indian laurel, not rosewood, and has a mid-brown and lightly striped appearance. When we changed strings we gave the frets a quick polish and oiled the fingerboard, which, we have to say, now looks and feels very classy. Those inlays appear to be mother-of-pearl, probably laminated, that ‘dance’ nicely in the light.

As we’re seeing more with the higher line Epiphones, they’re using Gibson
USA pickups and these are obviously Greenybuckers, the same that are used on the £3k USA model and the much more expensive Custom Shop versions. The only difference is that those Custom Shop sets have aged covers and aren’t potted; ours are wax-potted with shiny nickel covers. 

But just play the guitar and they’ll soon age nicely. Epiphone’s LockTone tune-o-matic and stop tailpiece are credible parts that won’t fall off when you go to restring, and tuners are Grover Rotomatics with modern-style buttons, the same type as the USA model.

Under the hood

The rear cavity here is pretty tidy but unscreened, like the cover plate, and without the grounding plate used on the USA version. The primary difference, however, is that the Epiphone is wired – as the 1959 original would have been – with ‘50s-style’ wiring, not ‘modern’ wiring. All the pots are CTS with a nominal 500kohms rating. Unlike the USA guitar, the capacitors here are Mallory, although they have the same .022μF values.

Wired '50s-style like this, there is some interaction between the volume and tone. So if you pull back the volume, then reduce the tone control, the sound thins out. When you wind the tone back up it almost acts like a volume. You should also find when you reduce the volume the high-end is retained more than with modern-style wiring. Of course, if you want to try modern wiring, you just need to move the tone control from the middle lug on the volume to the input lug, where the pickup’s hot lead is wired.

As we say, the Greenybuckers – which are wax-potted here (aftermarket versions are unpotted) – are on the hotter side of the PAF scale: ours measured 8.52k at the bridge, the neck measured 8.25k, and both use an Alnico II magnet. Gibson doesn’t specify wire type or gauge, and the out-of-phase sound is created by reversing the neck pickup’s magnet. 

“The [Greeny] guitar has been analyzed more than once here,” Gibson USA’s Jason Davidson told us back in issue 504, “but the pickup specifications were confirmed with Kirk’s tech as well. Then we did a lot of ear-testing to make sure the sound was there. I remember Jared [Brandon, Pickup Shop product manager and designer] made three batches: they were all very close, but we went to our sound lab with Matt Kohler [VP of product at Gibson Brands]. 

“Matt has a really good ear and he’d listened to Kirk playing Greeny several times: he had a pretty good idea of what it sounded like when Kirk played it. Eventually, we all agreed on which set we thought was right and Kirk gave a big thumbs up and obviously compared them to the real thing.”

Feel & Sounds

If you like larger, palm-filling neck profiles, you’ll be at home with this one. Dimensionally, it’s slightly deeper than the USA Greeny we looked at: 22.8mm at the 1st fret, 25.6mm at the 12th, with a deep C profile. The fretwork is good, the gauge fairly standard Gibson, approximately 2.3mm wide by 1.2mm high, although
here the fret ends sit over the binding and there are no nibs. As we said, a little final fret polishing wouldn’t go amiss, but if you shut your eyes you could be playing a much higher-priced vintage-style Les Paul.

To be honest, we could say the same about the sounds here. The Greenybuckers sit on the hotter side of the PAF output range and that gives us a little more punch and sizzle at the bridge; the neck is thick, warm and majestic. It’s not the trendy, low-powered ‘Tele on steroids’, but, hey, you can use the volume controls, which really work, with '50s wiring (see Under The Hood on the previous page). 

Then we have the fabled out-of-phase sounds in middle position on the three-way toggle, which provide a sea of subtly different, slight, or pronounced nasally voices when used with the independent volume and tones.

We still wish we could electronically restore the phase. Being fans of the standard dual-humbucker mix, if this was our only ’Paul we’d miss that, not least on a function gig where every song seems to require a different voice. But as well as the rather good default classic rock sounds of the solo ’buckers, there’s a lot to explore here.

Verdict

Where to start? A £1.4k new Epiphone? Someone’s having a laugh, aren’t they?
You could buy an ‘Inspired by Gibson Custom Shop’ 1959 Les Paul for £969, budget for a set of Greenybuckers from the Pickup Shop (£319) and still be in pocket. You could also buy a Gibson USA Les Paul Tribute for less money (not to mention a Junior), and then there’s the more recently released, stripped-down USA Les Paul Modern Lite at the same price. Isn’t this just an overpriced ‘Chibson’ with the wrong name on the headstock?

Well, we’d strongly suggest if you’re remotely interested in saving some cash that you A/B this Epiphone with the USA Greeny. You might be surprised. To our hands, ears and eyes – irrespective of where it’s made or whether we have a faux maple top, and so on – it’s quite simply the best-quality-level Epiphone Les Paul we’ve had in our hands and, to be honest, a considerably better proposition than some of Gibson USA’s low-end models that often feel Made In Hurry. In contrast, there’s some excellent craft here, a great finish and plenty of sounds to explore

Specs

• PRICE: £1,499/$1,499 (inc case)
• ORIGIN: China
• TYPE: Single-cutaway, solidbody electric
• BODY: 2-piece mahogany with carved maple top faced with AAA flame maple veneer
• NECK: 1-piece mahogany, ‘custom Greeny’ profile, glued-in
• SCALE LENGTH: 629mm (24.75”)
• NUT/WIDTH: Graph Tech/42.64mm 
• FINGERBOARD: Single-bound laurel, mother of pearl trapezoid inlays, 305mm (12”) radius 
• FRETS: 22, medium jumbo
• HARDWARE: Epiphone LockTone ABR tune- o-matic bridge, and stopbar tailpiece, Grover Rotomatic tuners w/ ‘modern’ buttons – nickel plated
• STRING SPACING, BRIDGE: 51.5mm 
• ELECTRICS: Covered Gibson Greenybucker set w/ reversed magnet polarity (neck), 3-way toggle pickup selector switch, volume and tone for each pickup
• WEIGHT (kg/lb): 3.91/8.6
• OPTIONS: None
• RANGE OPTIONS: Gibson Custom Kirk Hammett ‘Greeny’ 1959 Les Paul Standard ($19,999) and USA Greeny ($3,199)
• LEFT-HANDERS: No
• FINISHES: Greeny Burst (as reviewed) – satin front, lightly burnished back, sides and neck
• CONTACT: Epiphone 

For the final time in his Kiss career, Paul Stanley donned the face paint, picked up a suite of his prized electric guitars and took to the stage at Madison Square Garden last weekend for the band’s final-ever performance.

It was notable for numerous reasons – Ace Frehley and Peter Criss weren’t there, for one, and Kiss were digitally immortalized via state-of-the-art avatar technology at the end – but when the band closed the set with Rock and Roll All Nite on Saturday, they also closed the final chapter of Kiss' live journey.

Owing to the occasion (and because it was a Kiss concert), the 23-song setlist played host to pyrotechnics galore and exemplary displays of showmanship, with Gene Simmons breathing fire and Paul Stanley ziplining between stages at various points throughout the evening.

It was an historic performance, which also saw Stanley make his way through a handful of different electric guitars – including a custom Gibson Flying V that he has now gifted to a high-profile vintage guitar dealer.

The model in question – an ebony-finished Custom Shop beauty with a curious star tailpiece, block inlays and split-diamond Gibson headstock logo – was wielded by the Kiss frontman at various points during both the band’s Friday and Saturday shows.

Specifically, Stanley slung the V over his shoulder to play Say Yeah and Cold Gin – but not long after the curtain came down on the Saturday, it had been passed on to a new owner.

Taking to Instagram after the show, Matt of Matt’s Guitar Shop – a showroom located in Paris that specializes in vintage gear and once sold Jeff Buckley's Telecaster to Matt Bellamy – revealed he’d been invited to the Garden for Kiss’ last show by Stanley himself, who then made the trip even sweeter with a very special gift.

“I can’t thank you enough the one and only @paulstanleylive from @kissonline for having me and my team at the very last KISS show at the madison square garden,” he wrote. “Can’t thank him enough as well for this beautiful Gibson Flying V Paul used the last show for couple of songs and extensively for countless concerts with KISS during the last tour! Thank you Paul, you are a true class act.”

We know what you’re thinking: if it’s been given to a vintage gear dealer, will it be making the rounds on the private collector’s circuit some time soon? Given the fact it was played at the last Kiss gig, we imagine it would command a pretty penny indeed.

But, understandably, the sentimental value of the whole experience is just too sweet for Matt, who has declared his intentions to keep the Flying V in his own personal catalog.

“This is unforgettable,” he continued. “This guitar will stay in my private collection, it sounds amazing!”

We imagine attending the last Kiss gig was a pretty special experience in itself, but to come away with a custom Gibson Flying V that actually saw stage action on the night? It doesn't get much better than that for a Kiss fan.

Head over to Matt's Guitar Shop's Instagram account for future glimpses of Stanley's Flying V.

There are players who curate and coddle their electric guitars – and then there are players who make them their own. James Hetfield’s new guitar book Messengers showcases perhaps the ultimate example of the latter: a 1959 Gibson Les Paul ’Burst that has been inscribed by the Metallica frontman.

In the book, Hetfield reveals he owns five ’Bursts and showcases four of his Golden Era Gibson guitars, all of which rank among the rarest and most valuable models in the firm’s history: a ’58 Korina Flying V, a ’58 Korina Explorer and two 1959 Les Paul Standards, dubbed ‘Rick King’ and ‘Roman’.

The former LP is named after the vintage Gibson dealer/broker who helped Hetfield to find and inspect the guitar. 

However, it’s the latter, Roman, (serial number 9-2339) that immediately caught our attention – largely due to the fact that Hetfield has carved an enormous ‘XII’ numeral into the rear of the body.

“With the Roman, I was fortunate enough to go to a friend that had quite a large collection of Les Paul Bursts,” writes Hetfield in Messengers. 

“He allowed me and a few other guitar players that he respected to come in, play them, and pick one. I brought my half stack to his place, he laid them all out, and I played them one by one.

“I narrowed it down to four, then kept plugging them all back in until I arrived at this one. 

“It's called Roman because of the Roman numerals I etched into the back. It's the number twelve, because that was the twelfth guitar that I played out of all the ones I was very fortunate enough to try out.”

From the storied OGV, to ‘Uncle Milty’ (a modded 1973 Les Paul, with an embedded Iron Cross), Hetfield has a long and brilliant history of graffitiing and decorating his guitars. 

As such, the bold move is in keeping with Hetfield’s long held approach to ownership. However, it’s hard to think of another contemporary example in which a guitarist has so significantly altered a ’Burst. 

There were certainly plenty of mods made to instruments from the rarified 1958-1960 ’Burst era before they acquired their reputation – such as the Bigsby-equipped Bolin ’Burst, now owned by Joe Bonamassa – but it’s vanishingly rare to see one intentionally carved by a current owner, particularly in the era of half-million price tags. 

Indeed, it raises a debate about the nature of ownership of historic instruments. Are ’Burst buyers owners or custodians? We’ve seen plenty of examples of players who regard themselves as the latter.

Joe Bonamassa is said to own 10 ’Bursts, but his collection – while toured and played – has a focus on preservation and restoration. Indeed, he has previously hinted it will wind-up as a museum exhibit, once he passes on.

Hetfield’s onstage partner, Kirk Hammett, meanwhile, owns one of the most famous ’59 Les Paul Standards of all time, ‘Greeny’. 

He has teamed up with Gibson for a range of exhaustive reproduction models, most recently the Epiphone Greeny Les Paul. Hammett also recently listed for sale a remarkably clean ’59 Les Paul dubbed ‘Sunny’ via Gibson’s Certified Vintage program.

Regardless, the news of Hetfield’s extensive ’Burst collection also adds further context to the story that the Metallica frontman passed up an opportunity to purchase Greeny himself. 

That, in itself, raises one hell of a ‘what-if?’ scenario. Even Papa Het would not have put Greeny under the chisel… would he?!

For more (utterly fascinating) insight into Hetfield’s astonishing guitar collection, we highly recommend you check out the full Messengers tome.

• Messengers: The Guitars of James Hetfield is available now from Amazon and Metallica.com.

Many guitarists argue that behind every great song is a great instrument. To prove their point, they’ll bring up songs recorded with 1958-60 Gibson Les Paul Standard “bursts,” '50s and early '60s Strats and Teles, vintage Gibson and Martin guitars, one-of-a-kind custom guitars (like Jerry Garcia’s Wolf and Tiger) or even modern guitars like EVH, Music Man, PRS, and Taylor models. 

If you were to ask even the most casual vintage acoustic guitar collector if the Sixties Gibson J-200 was a great guitar, most would answer with an emphatic “No!” In its original pre-WWII iteration with rosewood back and sides, the Gibson SJ-200/Super Jumbo (as it was originally named) is one of the most desirable acoustics of the 20th century. The post-war version with maple back and sides produced through the Fifties (when the name was shortened to J-200) is not far behind. 

But for some unexplainable reason during the early Sixties, Gibson decided to mess up the J-200’s divine design in a huge way by embedding an ABR-1 Tune-o-matic adjustable bridge into an oversized rosewood bridge (screwed to the top, no less) with the previously open sections filled with heavy pearl inlays. (One of my acoustic purist friends compared the '60s J-200 bridge to “painting a huge handlebar mustache on the Mona Lisa then driving a Buick through the middle of it!”) 

It now also had a massive maple bridge plate and large wooden brace between the bridge and soundhole that adversely restricted top vibration. The modified neck design featured a narrow fretboard and slim, flat profile similar to a Gibson solidbody electric of that era. How could Gibson president Ted McCarty – the man behind such timeless classics as the Les Paul (!), Flying V, Explorer, ES-335, Firebird, SG and so on – allow such an abomination to happen under his watch?

Acoustic traditionalists may have averted their gaze in disgust, but the J-200’s modifications didn’t matter much to many of the most popular recording artists of the '60s and beyond. 

The list of legendary recordings featuring a Sixties J-200 is truly astounding. George Harrison used one with the Beatles on the White Album, Let It Be and Abbey Road on songs that include While My Guitar Gently Weeps and Here Comes the Sun. John Lennon also played Harrison’s J-200 during the Let It Be/Get Back sessions. 

Jimmy Page borrowed producer Mickie Most’s J-200 to record Babe I’m Gonna Leave You, Black Mountain Side and Your Time is Gonna Come on Led Zeppelin’s debut album. Bob Dylan famously posed with one on the cover of his Nashville Skyline album and played it on the record. Pete Townshend used his 1968 J-200 on every Who and solo recording he made from 1968 through 1989, most notably on Pinball Wizard.

But wait, there’s more. Brian Jones can be seen playing a '60s J-200 in the Rolling Stones film Sympathy for the Devil; Cat Stevens recorded and performed with a Sixties J-200 during his late '60s/early '70s prime; John Fogerty played his on the Creedence Clearwater Revival classics Cosmo’s Factory, (Lookin’ Out My Back Door) and Green River (the title track); and the '60s J-200 often appeared in the hands of everyone from Gram Parsons to pop sensation Mike Nesmith of the Monkees to Texas country-blues songster Mance Lipscomb.

The '60s J-200’s heavily reinforced and heavy bridge, maple back and sides (often made of laminated materials), and skinny neck combined to deliver a rather percussive tone (i.e. lacking the sustain and rich resonance of previous J-200 models) with pronounced, brilliant treble and subdued bass, but that made it effective in the recording studio for recording bright, aggressive rhythm tracks that cut through the mix. 

As Harrison proved on Here Comes the Sun, this bird could also sing quite sweetly when fingerpicked, particularly when using a capo.

Gibson has once again partnered with Adam Jones to release the latest electric guitar in the pair’s long line of signature instruments: the Gibson Custom Shop Adam Jones Flying V Collector’s Edition.

As was the case with Jones’ long-awaited Silverburst Les Paul Custom signature guitar, the arrival of this particular six-string has been a long time coming. Fans first laid eyes on the mystery V way back in January 2022, when the Tool maestro took one to stage during what was then the band’s first show in almost two years.

Speculation went into overdrive a few months later, when Jones gave guitar aficionados a closer look at his prized Custom Shop Reverse Silverburst, which it turns out had been designed with help from Kirk Hammett, Richie Faulkner and Jim Root.

At the time, Jones’ personal model was confirmed to be one of only three prototypes, but now Gibson Custom Shop has brought back the template for a highly limited run of Collector’s Edition instruments.

As “highly limited” and “Collector’s Edition” both imply, this isn’t a release for the casual Jones fan, and is instead an ultra-exclusive Flying V with a price tag reflective of the fact only 50 units will be made.

Indeed, Gibson’s Collector’s Edition precedent was set by the first Kirk Hammett Greeny Les Paul offering, which weighed in at $50k. Here, it’s not quite at that level, but it’s still a considerable investment: this Adam Jones Flying V is available for $20k.

For that price you’re practically buying the exact Flying V owned and played by Jones himself, with the model itself catering to the prog maestro’s exacting specs. For example, his affection for super-heavy guitars is well-known, and as such this model offers a suitably bulky, carefully selected non-weight relieved mahogany body.

That is joined by a three-piece plain maple top that has been decked out in Reverse Antique Silverburst, as well as a three-piece maple neck that in turn is joined by a bound 22-fret ebony fingerboard and mother of pearl custom block inlays.

The neck also accommodates arguably the most eye-catching appointment of the axe, the Futura-style headstock, which is lifted from early Explorer models from the late 1950s.

Moving back to the body, a reverse-mounted Custombucker neck pickup lines up next to a custom-wound Seymour Duncan DDJ bridge unit, both of which are answerable to specific volume and tone parameters and a three-way pickup switch.

Diving further into the electronics, the bridge volume utilizes a DiMarzio 500k volume pot, while the rest of the parameters make use of CTS pots with Orange Drop capacitors.

Elsewhere, the Through Body-designed instrument features a Nashville Tune-O-Matic bridge and Schaller M6 with Large Button tuners, all of which flash a lightly aged chrome plating. For extra visual prestige, the entire package has been aged by the Gibson Custom Shop Murphy Lab.

All of the above specs have, according to Gibson, resulted in “an out-of-this-world limited-edition Flying V”.

As mentioned, only 50 will be made, and each will set you back $19,999 – a price that includes a hardcase and an adjustable leather strap developed by Jones.

Head over to Gibson to find out more.

For those looking for a more affordable Adam Jones signature guitar, Epiphone's recent run of Art Collection Les Pauls – which we suggested could be the best Epiphone Les Paul ever made – has you covered.

Epiphone has unveiled what must be the most anticipated signature guitar in the brand’s long history, the Epiphone Inspired by Gibson Custom Shop Kirk Hammett ‘Greeny’ 1959 Les Paul Standard.

We predicted yesterday that a feature like the Gibson open-book headstock (teased in advance by Gibson CEO Cesar Gueikian) was indicative of a premium price, and we were not wrong. 

At $1,499, it is – by some margin – the most expensive Epiphone Les Paul, and ties with Dave Mustaine’s Prophecy Flying V Figured as the most expensive Epiphone to be made in China. 

So what are you getting for your $1,500? Well, much of that money has gone on the components. 

Epiphone’s Chinese facility has clearly had to do some amount of retooling (or purchasing direct from its parent firm), in order to create the Gibson-style headstock and Custom Greeny profile neck.

Then you’ve got a pair of Gibson’s USA Greenybucker humbuckers, which cost $299 as a standalone. These, of course, have been installed with the neck pickup reverse-mounted in the style of the iconic original Greeny, enabling you to (hopefully) nail those out-of-phase tones that were key to Peter Green’s most famous recordings.

Then there are CTS pots and Mallory (as opposed to orange drop) capacitors with ’50s wiring, a Switchcraft output jack and toggle switch, and – mounted on that open book headstock – Grover Rotomatic with Spade Button tuners.

The tonewoods are quite traditional, if not entirely faithful to the Gibson USA Greeny. 

As such, you’ve got a mahogany body with a maple top and flame maple veneer (as opposed to a flame maple top), which achieves the look and is the same approach used on the Epiphone 1959 Les Paul Standard.

Then there’s a one-piece mahogany neck, an Indian Laurel fingerboard (as opposed to rosewood), and Mother of Pearl trapezoid inlays.

A nice final touch is the inclusion of a Lifton-style brown hardshell case with a pink plush interior – Epiphone’s take on the classic Gibson Les Paul case of the 1950s.

So, yes, the price is pretty crazy as Chinese-made Epiphones go, but this is 2023 and, as ever with modern-day Gibson, seems to be designed to ride that line between ‘just about reasonable’ and painfully premium. 

Regardless, it is nonetheless extremely well-equipped and represents a significant saving over the USA version, which comes in at $3,199, and certainly – off the back of the $20K Custom Shop Greeny and $50K Custom Shop Collector’s Edition Greeny – seems almost justifiable.

As Greeny’s custodian, Kirk Hammett, puts it: “Greeny is a guitar of the people and this is an amazing opportunity for more players to experience the spirit of Greeny.”

“Kirk worked with us every step of the way to ensure this Epiphone Inspired by Gibson Custom Shop ‘Greeny’ model has the same sound and feel as his legendary original guitar,” adds Mat Koehler, Gibson Brand’s VP of Product. 

“It was extremely important for him that we get it right. I know that we’ve done him proud because he couldn’t – and still can’t – stop playing the prototype.” 

Interestingly, in the same statement, Koehler also reveals that the open-book headstock will appear elsewhere in the Epiphone line-up, hailing the first arrival in a new tier of ‘Inspired by Gibson Custom Shop’ builds. 

For more information, on the [inhales] Inspired by Gibson Custom Shop Kirk Hammett ‘Greeny’ 1959 Les Paul Standard, head to Epiphone.

A thrash metal pioneer in possession of one of the greatest right hands in six-string history, James Hetfield is an icon of the electric guitar – and he’s amassed quite a collection of instruments over the years.

From his earliest Electra Flying V copy – the guitar that changed the course of his history – to his ESP signature guitars, awe-inspiring Ken Lawrence custom creations and enviable vintage models, the Metallica frontman has a remarkable number of guitars to his name, and every one has a story.

Hetfield tells those tales in his new book, Messengers: The Guitars of James Hetfield, detailing his evolution as a guitarist and a human being with each new instrument.

Yet few hold the emotional weight of his ESP Horizon double-neck – aka the electric guitar he was playing when a pyrotechnic charge hit his left side during a 1992 show at Olympic Stadium, Montreal. The guitar shielded Hetfield from the very worst of the flames, and its scorched neck serves as a reminder of the traumatic incident that left him unable to play guitar.

In this exclusive extract, Hetfield recounts his memories of the moment the flames struck, and how he came to terms with the accident that very nearly derailed his career.

1991 ESP Horizon Double Neck Montreal – by James Hetfield

The Double-Neck Montreal makes me think of the smell of your own burning flesh.

I did not have a double-neck Explorer at that time, which I eventually did get and nicknamed the “Coffee Table” because it’s so friggin’ giant and heavy. But for the 12-string sound on Fade to Black, ESP lent me whatever they had, and this was it – the ’89 Horizon, the double-neck I played Fade to Black on every night up to Montreal. It was retired after that.

If you look at the photos, you can see I had my hand around the neck where it’s all white, and you can then see where the rest is charred. It was so hot the strings popped. I don’t hate this guitar because of what happened, that’s for sure. I don’t hate the pyro guy, anyone, or anything, really. Things happen for a reason, and for some reason I was meant to stop playing guitar for a little while.

Out of all the stuff that I’ve gone through, breaking wrists, breaking arms, and then this, I’m pretty grateful that we’ve had people to stand in and play guitar. And it’s good thing that, I don’t want to say I can sing, but it’s a good thing I have another job in the band. Job security! 

It was not a fun time, that’s for sure, but I’m just glad it wasn’t worse. At the gig, I remember throwing the guitar down, going backstage and just watching the skin bubble up and start to slough off. 

I remember putting it in ice water. That felt so great, but as soon as I took it out, it was right back to, well, are flames still on it? There was a panic that set in with me, like, Oh, shit, this pain is not going away. I remember a security guy helping me along. He didn’t speak English, but he knew the right thing to do – let’s get in a van, let’s go to the hospital.

I really remember being in the back seat of the van and, arrgh, the pain. I have huge respect for people that have gone through any kind of major or minor burn on their bodies. Whether you’ve grabbed a hot pan or tried to get the bagel out, all of a sudden you’re hurting. It was to the bone. That was brutal. 

This guitar is historic, part of our journey. And this was a couple days after we’d just been down in Mexico having a little break from the tour with Guns ’N Roses because Axl’s voice went out. We had just come back, and this happened.

It’s pretty cool that the guitar neck itself is a natural color, not painted black, so you could see the charring on it. If it was black you wouldn’t have. It probably would’ve just looked like bubbled-up paint.

The accident was unfortunate. At that time, the pyro stuff was not as safe as it is now. There was no extra spotter, so when he looked up to make sure he was good to fire it, everyone looked clear, then he’s unlocking stuff, and then goes to press the button. If there’s a delay of even two or three seconds, we’re onstage, moving around, and I had just forgotten and moved onto the flame. 

I didn’t have any fear of looking at the guitar. I had maybe a little more fear of pyro, or playing the song Fade to Black onstage, but the guitar didn’t cause any of this. It’s like the analogy of falling off a horse – you’ve got to get back on. It’s not the song’s fault, it’s not the guitar’s fault, it’s not pyro’s fault either. It’s just circumstances.

Courtesy of Permuted Press. All Rights Reserved.

• Messengers: The Guitars of James Hetfield is available now from Amazon and Metallica.com.

After teaming up with the Gibson Custom Shop to produce a 1979 Flying V signature guitar earlier this year, Kirk Hammett has now linked up with Epiphone to produce a more affordable take on his prized electric guitar.

Now, it seems a given that an Epiphone would be more affordable than a Gibson, but the price difference here is quite considerable. Owing to its Custom Shop provenance, the flagship Flying V weighed in with a whopping $15k price tag. 

In comparison, the Epi – which, it should be stated for the record, was actually designed in partnership with the Custom Shop – is priced at $1,299.

For Metallica fans, the arrival of a Flying V inspired by Hammett’s Gibson model that isn’t priced at five figures will be significant. This model is, after all, one of the guitarist’s most notable instruments, having featured on the band’s first five albums. 

To this day, the V remains a stalwart in Hammett’s live guitar arsenal, with Epiphone dubbing the instrument as “one of the most important heavy metal guitars of all time”.

Thus, “a meticulous recreation of Kirk’s prized original” at a tenth of the price of the highly exclusive Gibson Custom Shop model is a pretty notable release.

Like its Murphy Lab-aged predecessor, the Epiphone 1979 V is available in Ebony – as well as a more eye-popping Purple Metallic alternative – and boasts a mahogany body. 

Some expected component differences have also been drafted in, with the Epi version opting for a rounded C with volute neck profile and a 12”-radius Indian laurel fretboard, as opposed to the custom profile and Indian rosewood ‘board of the alternative.

Elsewhere, there’s a Graph Tech nut, mother-of-pearl dot inlays and 22 medium jumbo frets. The hardware department also has room for Grover tuners, a custom bridge identical to the one found on the Gibson V and a stopbar tailpiece.

As for tones, a pair of Gibson USA Calibrated T-Type pickups are wired to pickup-specific volume parameters and a master tone knob, as well as the standard three-way toggle switch.

For additional Hammett flair, a silhouette of the man himself holding a Flying V aloft can be found printed on the reverse of the headstock.

As mentioned above, both models are available now for $1,299.

Head over to Epiphone for more information.

This particular model is set to be joined by another Kirk Hammett Epiphone signature guitar, after the Metallica guitarist revealed an Epiphone Greeny – which he said he preferred to the Gibson Custom Shop version – was on the way.

Nor is this the only signature V to join Hammett's collection: in March this year, ESP launched its long-awaited LTD KH-V guitars.

Joe Bonamassa has revealed the most expensive guitar in his 500-piece vintage instrument/gear collection: a 1958 Gibson Korina Flying V that he has dubbed ‘Donny J’.

Bonamassa is interviewed in the new issue of Guitarist and discusses the highlights of his immense collection. When it comes to the price paid, though, his Donny J Flying V lies at the very top of that pile, having cost the blues rock ace more than $400,000.

“This is a mint-condition '58 Flying V I call Donny J,” Bonamassa tells Guitarist. “I got it from my friend Don in Oklahoma. He bought it in 1976 for $1,100, which was a lot of money. 

“It belonged to a preacher outside of Oklahoma City. I always thought it would be an odd sight going to church and seeing your pastor rocking a Flying V.”

Adjusting for inflation, $1,100 in 1976 would be around $6,000 in 2023 prices. Nowadays, though, original korina Flying Vs and Explorers routinely fetch far, far higher prices – indeed, they routinely rank among the most valuable electric guitars on the vintage market. 

As such, Bonamassa says he paid a much higher premium for the Flying V when he picked it up four years ago.

“All my korinas have provenance going back to day one, pretty much,” says Bonamassa. “This one's mint and is the cleanest I've ever seen – although, allegedly, there's one in New Hampshire that's just as clean. It also has a mint case. 

“When I made the deal with Don I said, ‘Don, in 1976, it wasn't cheap. And it's not cheap in 2019, either.’ He goes, ‘No. It isn't.’ In fact, it's the most money I've ever paid for a guitar in my life: over $400,000.”

As mentioned, any original Flying V carries a huge premium. It's acquired iconic status over the decades, but was regarded as a flop following its launch in 1958. Indeed, the space-age design proved so unpopular it was discontinued by ’59. 

As such, Gibson’s initial production run resulted in just 98 instruments, making them some of the rarest guitars in the company’s storied history.

It’s an astonishing price tag, ultimately, but then, as Bonamassa argues: “What's a Flying V worth? It's worth what someone's willing to pay for it.”

Elsewhere, in the same issue of Guitarist, Bonamassa tells the story of the strangest guitar deal he ever did.  

“I made a deal, paid him in cash, and he died two months later,” says the collector of his deal to secure a 1960 Gibson Les Paul Standard, known as the Bolin ’Burst. “His last text to his daughter was, ‘I buried the money in the desert.’”

For more highlights from Bonamassa’s immense vintage guitar collection, plus in-depth discussion of his new album, Blues Deluxe II, pick up issue 504 of Guitarist.

In 1958, a landmark year for Gibson, the company released a slew of now classic designs. These included the ES-335 and ES-355 semi-hollow thinlines; the EB-2 thinline bass; the revamped sunburst Les Paul Standard; and the double-cutaway Les Paul TV and Junior models. 

Also joining the class of ’58 was Gibson’s new “Modernistic” solidbodies, the Flying V and Explorer. There was a third variant designed alongside them, the Moderne, although this guitar never made it into production until 1982. 

As these futuristic-sounding model names suggest, Gibson’s intention was to prove to the guitar world that it was able to compete with the likes of Fender when it came to adventurous, forward-thinking designs. 

With its new solidbodies, Gibson attempted to slough off its image as a staid guitar builder while leaning into the zeitgeist of '50s sci-fi and space exploration. 

Unfortunately, however, both the Flying V and Explorer proved immediately unsuccessful and were discontinued the year after their release. Shipping records show that only 98 Flying Vs were produced between 1958 and 1959, while the Explorer clocked up even fewer. Indeed, the mere 22 recorded shipped between 1958 and 1959 during its debut run make it one of the rarest – and now most coveted – vintage guitars Gibson has ever produced.

Along with the Flying V and Moderne, the Explorer’s “ornamental design” patent was applied for in June 1957 and granted in January 1958. Originally dubbed the ‘Futura’, it is depicted as having a V-shaped headstock (as present on a prototype guitar during its unveiling at the July 1957 NAMM show) although this was later changed to the more familiar asymmetric ‘scimitar’ headstock shape. 

This period was also significant for Gibson on account of its new humbucking pickup design that began to appear on electric guitars from 1957. Subsequently, upon its release, the Explorer was fitted with a pair of PAF (“Patent Applied For”) humbuckers augmented by three control knobs – comprising individual pickup volume knobs along with a master tone – and a three-way selector switch.

Aside from some very early mahogany examples, the Explorer was made using Korina wood (a commercial name given to white limba) as per the Gibson Consolette steel and Skylark lap steel. Durable, good-looking and easy to work, Korina further enhanced the Explorer’s unique appeal. Appearing on the price list under the Modernistic Guitars section, both the Flying V and Explorer listed for $247.50 – the same as a Les Paul Model/Goldtop.

“The forward look,” reads a feature in the April-May 1958 issue of the Gibson Gazette. “The extra narrow, fast action neck is of matching Korina with the Gibson adjustable truss rod. Rosewood fingerboard has attractive pearl dot inlays. Tune-o-matic bridge permits adjustment of string action… Metal parts are gold-plated, individual machine heads with deluxe buttons.”

In the early '60s, Gibson used up the remaining Explorer bodies and necks, hence guitars from this period feature nickel- not gold-plated hardware as per the originals. And although the Explorer is now considered a classic, it wasn’t until 1975 when Gibson started making it again. 

The Evolution of the Gibson Explorer

June 1957: Futura patent applied for; V-profile headstock

July 1957: Prototype displayed at NAMM show

1958: Patent granted; ‘scimitar’ headstock; gold-plated hardware; 19 guitars shipped

1959: 3 guitars shipped; discontinued

Late 50s/Early 60s: Korina bodies and necks; nickel-plated hardware

Mid-70s Reintroduced; Ebony, Natural and White finishes

1979: Explorer II; walnut or maple top

1981: Heritage Series Explorer; Korina

1982: The Explorer; Antique Sunburst & Antique Cherry Sunburst finishes

Current: Various models available in Gibson’s Original, Artist, Exclusives and Custom Shop ranges

“Beethoven described the guitar as a ‘miniature orchestra’ – but he never had the opportunity to hear or play the modern Gibson Harp-guitar,” says the firm’s 1923 catalogue. 

A hundred years ago, this obscure hybrid instrument may have appeared modern, but double-neck guitars were, in fact, around long before Ludwig van Beethoven (1770-1827). Electric Spanish-style double-neck guitars were, however, a novelty when players such as Joe Maphis and Jimmy Bryant were using them in the 1950s. 

Subsequently, interest began to grow and in response to numerous requests for these unconventional instruments Gibson developed a pair of dual-necked electric guitars in 1957: the Double 12 and Double Mandolin.

Unveiled at the July 1957 NAMM Show, these rare, custom-order thinlines were constructed with a carved/arched spruce top and laminated maple back and sides. Sporting pointed/Florentine double-cutaways, the profile of these guitars is akin to the mahogany SG solidbody design introduced in the early ’60s via the Les Paul range, and it’s clear to see where the inspiration for this iconic shape lies. 

Loaded with Gibson’s new PAF humbucker pickups, the Double 12 and Double Mandolin were offered in a choice of Sunburst, Solid White and Solid Black finishes. While both instruments were fitted with a regular 24 ¾-inch scale-length neck in the lower position, the Double 12 features a 12-string neck, whereas the Double Mandolin incorporates a shorter-scale six-string neck tuned an octave higher than standard. 

Shipping figures show demand for both was relatively low; only 17 Double 12s and 15 Double Mandolins were sent out in 1958 – the highest totals in any year of production.

Nonetheless, it further showed Gibson had the ability to design and create novel instruments for the more adventurous guitarist. In ’58, they made an intimidating addition to the line-up alongside the newly introduced ES-335, EB-2, double-cutaway Les Paul TV/Junior, Flying V and Explorer.

Reads the Gibson catalogue: “A completely new and exciting instrument… The Double 12 combines the conventional six-string guitar neck with a 12-string neck… The Florentine double-cutaway design provides easy access to the entire fret range of both necks.”

Easy access to the upper frets was of paramount importance to Gibson during the late ’50s and early ’60s, as shown in the slew of now classic guitar designs that appeared within those few short years.

In keeping, the single-cutaway Les Paul solidbodies transitioned to the Florentine double-cutaway SG-style, beginning with the Standard in late 1960 and followed by all other models in the range the following year. In a similar vein, the Double 12 was reworked into the Gibson SG-style solid‑mahogany body EDS-1275 in 1962, as was its Double Mandolin sibling (by this stage designated the EMS-1235). 

Highlighted on the price list as “Special Order – Custom Instrument Department”, they appeared alongside a further variant, the Cherry Red Fuzz-tone-equipped EBSF‑1250 Double Bass six-string/four‑string bass double-neck.

Solidbody versions proved even less popular than the original thinlines and shipping records reveal scant numbers. Discontinued by the late ’60s, the EDS‑1275 was reintroduced in the mid-’70s and proved significantly more popular thanks to players such as Jimmy Page, Don Felder and Steve Howe.

The Evolution of the Gibson EDS-1275

• 1957: Gibson Double 12; carved/arched spruce top; maple back and sides
• 1958 to 1967: 110 shipped (Double 12/EDS-1275)
• 1959: 1275 designation
• 1962: EDS-1275; SG-style mahogany solidbody
• Late ’60s: Discontinued
• Mid-’70s: Reintroduced
• 1974 to 1979: 1,145 shipped
• Current: Custom Shop EDS-1275 Doubleneck; Cherry Red finish

• Guitarist would like to thank ATB Guitars in Cheltenham for showing us this fantastic guitar from the Bernie Marsden Collection.

Not many players earn the title ‘king of the blues’, but then not many players have been as influential as the great Albert King. One of the leading players of his generation alongside fellow blues Kings, BB and Freddie, Albert was central to the ’60s wave of electric blues.

Without Albert and his fellow bluesmen, B.B. and Freddie, we wouldn’t have many of the household names we know today. Eric Clapton, Jimmy Page, Jimi Hendrix and Stevie Ray Vaughan were all admirers of Albert’s work, and that’s just to name a few.

But what was it about Albert that inspired a whole generation of now legendary players? With regard to his guitar playing, it was his wonderful vocal quality, singing sustain, expressive vibrato and powerful string bending. Albert favoured huge bends, often pushing strings a tone-and-a-half to create those screaming, crying notes.

Although his early work was of a traditional nature, Albert eagerly embraced the sound of funk and in 1972 released I’ll Play The Blues For You, with Stax Records. A collection of beautiful, soulful tunes, Albert blends his blues sound with gospel and funk orchestration, giving him a hip and contemporary sound, while keeping his distinctive blues guitar style to the fore.

Albert was famous for his use of Gibson’s Flying V, now probably more commonly associated with heavy metal guitarists, but Albert popularised its bold and distinctive shape way before the high-gain tones of Metallica, Michael Schenker and the like.

Part of Albert’s unique bending style was down to the unusual tuning he favoured. Reports vary on how he tuned his guitar, but Steve Cropper is reported to have said that Albert tuned C-B-E-F#-B -E  (low to high) during the ’60s Stax Sessions. Luthier Dan Erlewine has said C-F-C-F-A-D. However, you’ll be pleased to learn that our two studies are in standard tuning! 

Aside from his unorthodox tuning approach and distinctive bending style, Albert had a wonderfully rich musical vocabulary with a distinctively raw, driving tone. His sound was much more aggressive than that of his contemporaries and his gnarly tone is evident even on his earliest records (check out the track Cold Feet). 

Our two studies show one example of Albert’s guitar style in the traditional blues context, and one on a funkier piece. Both studies focus on his use of bending, leaving space and using thematic ideas as a basis for improvisation.

To get the most out of these studies, take these licks and phrases and try moving them through all the positions of the major and minor pentatonic scales to see how many different permutations you can achieve from this small collection of ideas. This is a great way of using Albert’s style as a springboard for inspiration and to broaden your own palette of ideas. Enjoy! 

Get the tone

Amp Settings: Gain 6, Bass 5, Middle 4, Treble 6, Reverb 2

Albert used various Flying V electric guitars with humbuckers. There is some debate about whether different wiring gave his sound that nasal, out-of-phase quality. Any low to medium output instrument will do the job nicely. But if your guitar is quite mid heavy, compensate by scooping the mids to help re-create his ‘hollow’ sound. Add light drive and minimal reverb.

Solo 1. Blues in A

This study hinges around the major pentatonic scale with the occasional b3 and b7 thrown in. Traditional blues generally drew from major scale tonalities and it was the inclusion of minor intervals, often hinted at with microtonal bending, that gave the blues its sound. 

Approach these pieces with this mindset and the phrases will start to reveal more melodic options as you adapt them into your own playing. To get the right feel will take practice.

Solo 2. Funky blues in E

This study focuses more on the minor pentatonic tonality in a funky major blues setting. Make note of the inclusion of the major 6 interval (C#) over the IV chord from bar 8. 

This note then functions as the major 3rd of the chord, helping the listener hear a more melodic narrative through the chord changes. While fairly simple from a harmonic point of view, this is a highly effective move and wonderfully pleasing to the ear. Again, getting the correct feel will take practice.