Gibson Flying V Faded Electric Guitar; There's a reason V's have been a mainstay for the last 50 years. So ahead of its time with its incredible shape, tone and access to all the frets, the original V came out in '58 and has been a powerhouse guitar ever since. The Gibson Faded Flying V is a reproduction of the '67 model with all the features and specs that made it the guitar it was in its glory days. The look of the Faded V is like no other guitar made before or after. With unlimited neck access, powerful out put and worn finish; this Faded Flying V is sure to be a favorite with fans and players worldwide. Gibson Faded Flying V Features Mahogany body and neck Rosewood fingerboard Dot inlays 496R and 500T ceramic magnet pickups Chrome hardware American Musical Supply - an Authorized Gibson Internet Retailer AmericanMusical.com has been selected as one of Gibson's very few Authorized Internet Retail Sites in the United States. As one of these select few Internet sites, AMS offers an unparalleled selection of all of Gibson's premium brands, all covered by Gibson's Limited Lifetime Warranty - only available from Authorized Gibson retailers. Gibson is recognized as one of the most respected guitar builders in the world. AMS is proud to have a decades-long history with them and honored that Gibson has chosen us to bring their world-class instruments to you. Look for more new product announcements, special events and promotions in the coming months. Gibson - Pure.

The Gibson Flying V: Introduced in 1958 A certain aura of mystique surrounds the Gibson Flying V. A guitar well ahead of its time when it was introduced in 1958, the Flying V's intense magnetic appeal, powerful sound, and unusually familiar shape have made it one of the most instantly recognizable guitars in the world. Legendary Gibson President Ted McCarty was looking to add a futuristic aspect to the company's image when he introduced the Flying V, and he nailed it. And while some of the greatest guitar players of all-time--including Lonnie Mack and Albert King--immediately embraced the Flying V, it wasn't until Gibson reintroduced the guitar in 1967 that the rest of the world caught on. Guitar Gods like Jimi Hendrix, Johnny Winter, Billy Gibbons, Michael Schenker, and Lenny Kravitz have all succumbed to the Flying V's fascinating allure. Angled Headstock on the Gibson Flying V The pointed headstock on the V-Factor X is as typical as it is unique. Like every Gibson headstock, it is carved out of the same piece of mahogany as the neck. It is not a "glued-on" headstock, and the process takes craftsmanship, time, and effort. But the rewards are worth the effort. The headstock is carefully angled at 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain. A white truss rod cover adds a nice finishing touch to the headstock, and perfectly complements the white pickguard on the V-Factor X body. The V-Factor: The X Neck Profile on the Gibson Flying V No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional '50s neck profile is the thicker, more rounded contour, emulating the neck shapes of Gibson’s iconic models of the late 1950s. The '60s neck profile is considered the more modern, slim-tapered contour most commonly associated with the Gibson models of the early 1960s. The neck on Gibson's V-Factor X has the best of both worlds--it is a hybrid between the '50s rounded contour and the '60s slim-taper profile. As with all Gibson necks, it is machined in Gibson's rough mill using wood shapers to make the initial cuts. Once the fingerboard gets glued on, the rest--including the final sanding--is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel. Solid Mahogany Body The most central of all V-Factor X features is its V-shaped, solid mahogany body. Whether it’s the regular Flying V, or the Gibson V-Factor X, the solid mahogany body provides tone, sustain, and performance. The mahogany goes through the same rigorous selection process as all of Gibson’s woods, and is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This insures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and helps control the shrinkage and warping of the woods, in addition to helping reduce the weight. It also helps with improving the woods’ machinability and finishing properties. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory. Electronics When it comes to guitar electronics, less is definitely better. And that certainly holds true with Gibson’s V-Factor X. Gibson has chosen to install two volume controls and only one tone switch, which translates into less resistance between the pickup and the actual output. That means you end up with nothing but pure tone from the pickup, and one flat-out screaming rock and roll machine. Gibson's 496R and 500T Pickups No event is more responsible for dramatically influencing the evolution of popular music than Gibson’s introduction of the double-coil "humbucking" pickup in 1955. From the warm jazz tones of Charlie Christian, to the world-shaking rockabilly of Scotty Moore, and the cruching rock of Jimmy Page, countless players around the world explored the limitless possibilities of the tonal spectrum through Gibson pickups and guitars. As the musical landscape changed, so did the development of the humbucker pickup. Introduced in the early 1970s, Gibson's 496R and 500T pickups filled the need for more powerful humbuckers and energized the emergence of hard rock and heavy metal. The 496R produces incredible sustain and cutting power with its ceramic magnet, adding more highs with increased definition and no muddiness at all. The 500T is one of Gibson's most powerful pickups, containing a three ceramic magnet structure, which enables a no-holds-barred rock and roll crunch that never loses its rich combination of enhanced lows and crystal clear highs. This is one of Gibson's most potent pickup combinations. The Gibson Logo The most innovative and revolutionary stringed instruments of all time have bared the name Gibson--the Les Paul, the ES-335, the Explorer, the Flying V, the SG, the Firebird. The list goes on and on. There is no mistaking the classic Gibson logo, pressed into the V-Factor X's truss rod cover using a gold stamp. It is the most recognizable logo in all of music, representing more than a century of originality and excellence. There is simply no equal.The History of Gibson's Flying V Electric GuitarThe sleek, space age lines and bold tones of Gibson Flying Vs have seduced generations of players, putting the "Wham" in Lonnie Mack's licks and making Albert King's big-bellied southpaw bends hang in the air like smoking Crisco at a Saturday night fish fry. Though its origins may lie in the blues, the Flying V found a home in rock and roll, too. A fleet of three Vs gassed Jimi Hendrix's jams 'til he kissed the sky. The guitar humbucked up T. Rex’s roar and gave the Scorpions enough wind to "Rock You Like a Hurricane." Metallica's monolithic wall of sound has a vein of V at its igneous core, and Zakk Wylde has blasted his signature model on-stage and in the studio with Ozzy. It’s been a half-century of evolution and innovation since the original Flying Vs landed in the hands of musicians. We may still be waiting for our jet packs, but the Flying V took off long ago.

Everything you need to fit a Bigsby True Vibrato to your Flat Top Solid Body Style Guitar. The Bigsby B5 fits the SGand Les PaulJr and other similar Models. Kit includes: Bigsby Tailpiece, screws, tension spring, plastic washer, alignment string, and installation Instructions. Los Angeles. Late 1940s. A love of motorcycles brings together genius engineer Paul Bigsby and music legend Merle Travis. Their friendship inspired Paul to create the first Bigsby True Vibrato Tailpiece. He went on to design a series of Vibratos that rocked the music world. Still the original. Hand Crafted. Sand Cast. Hand Polished. The same way Paul did. SGand Les PaulJr are Trademarks of Gibson Guitar Corp., which is not associated with Bigsby.

Designed for use on flat top electric guitars. For use on Gibson SG, Flying V, Explorer, Firebird, Telecaster, and similar Flat Top Solid Body Guitars. Made In Korea, Diecast. Includes All Instructions

Designed for use on arch top electric guitars. For Use on Gibson ES-335, Les Paul, Heritage H-535, Epiphone Sheraton, Alley Cat, Dot, Guild Bluesbird: Guitars with a stud mounted Tune-O-Matic style bridge. USA Made, Sand Cast. Includes All Instructions

Designed for use on flat top electric guitars. For use on Gibson SG, Flying V, Explorer, Firebird, Telecaster, and similar Flat Top Solid Body Guitars. Made In Korea, Diecast. Includes All Instructions

Designed for use on arch top electric guitars. For Use on Gibson ES-335, Les Paul, Heritage H-535, Epiphone Sheraton, Alley Cat, Dot, Guild Bluesbird: Guitars with a stud mounted Tune-O-Matic style bridge. Made In Korea, Diecast. Includes All Instructions

Vibrato Kit. Made by Bigsby.For solid body Gibson (Gibson SG, Flying V, Exlporer, Firebird) guitars, the B5 Bigsby bridge is for manually creating a true vibrato.The only true vibrato is to change the tone above and below the normal pitch.Bigsby continues to manufacture vintage-style guitar parts including vibratos and bridges using the same hand-made methods prescribed by founder Paul Bigsby half a century ago. Six hand assembled vibrato models are available with the Bigsby name. The tailpieces continue to be used as original equipment on guitars by many major manufacturers.

This guitar takes the raw, unrefined power of Gibson’s classic BFG and matches it with a fulcrum style tremolo for new adventures in unrefined musical expression. The BFG is a stripped-down version of the iconic Les Paul, featuring Gibson’s high-powered and uncovered Zebra Burstbucker 3 humbucker in the bridge, and a classic, screaming single-coil P-90 in the neck, all controlled by two volumes and one tone knob.

Everything you need to fit a Bigsby True Vibrato to your Arch Top Solid Body Style Guitar. The Bigsby B7 fits the Les Paul and Silver Jet™ and other similar Models. Also fits archtop hollowbody guitars. Kit includes: Bigsby Tailpiece, screws, tension spring, plastic washer, alignment string, and installation Instructions. Los Angeles. Late 1940s. A love of motorcycles brings together genius engineer Paul Bigsby and music legend Merle Travis. Their friendship inspired Paul to create the first Bigsby True Vibrato Tailpiece. He went on to design a series of Vibratos that rocked the music world. Still the original. Hand Crafted. Sand Cast. Hand Polished. The same way Paul did. Les Paul is a Trademark of Gibson Guitar Corp., which is not associated with Bigsby. Silver Jet™ is a Trademark of Fred W. Gretsch Enterprises Ltd.

Designed for use on arch top electric guitars. For Use on Gibson ES-335, Les Paul, Heritage H-535, Epiphone Sheraton, Alley Cat, Dot, Guild Bluesbird: Guitars with a stud mounted Tune-O-Matic style bridge. Made In Korea, Diecast. Includes All Instructions

Designed for use on arch top electric guitars. For Use on Gibson ES-335, Les Paul, Heritage H-535, Epiphone Sheraton, Alley Cat, Dot, Guild Bluesbird: Guitars with a stud mounted Tune-O-Matic style bridge. USA Made, Sand Cast. Includes All Instructions

Gibson Vintage Nickel Machine Heads with Pearloid Buttons

Gibson Modern Nickel Machine Heads with Metal Buttons

Gibson Vintage Gold Machine Heads with Pearloid Buttons

Gibson Modern Gold Machine Heads with Metal Buttons

Grover's new Vintage machine uses a die-cast, two-piece housing for additional strength and precision. The unique bearing surface in the housing provides a rigid string post enhancing the alignment of the gear and worm. The 14:1 gear ratio provides for fine tuning.

Features:- Patented Ned Steinberger design cuts excess string while guitar is tuned, eliminating need for extra string-cutting tools. - Individual string clamps securely hold string in tuner - no need for multiple wraps around the tuning post. - Excellent for aggressive tremolo use. - Precision 18:1 gear ratio provides smooth, exact tuning, while virtually eliminating backlash and slippage. - Limited lifetime guarantee. Available in Chrome, Black and gold finishes

1x Tuning Key (Head peg), Generally for the Bass Side, the E,A,D Strings.

Gibson Vintage Les Paul Classic Machine Heads

The introduction of the new Grover Locking Rotomatics® gives you the ease of use provided by a standard tuner and the positive locking of our internal cam post. Simply insert the string through the string hole, pull to tension by hand and begin tuning. As you start to tune, only the locking cam in the string post turns. Once the string is locked, the string post begins to turn allowing you to bring the string to pitch. In less than one revolution of the string post, you will be in tune, to stay in tune. Gear ratio is 18 to 1.

1x Classic Kluson Style Tuning Keys (Head pegs), Generally for the Treble Side, the G,B,E strings.

At the heart of Gibson’s square-shoulder dreadnought line of acoustic guitars is the Songwriter Series, and the Songwriter Deluxe Studio EC is its most fundamental offering, in a distinct cutaway design. First introduced in 2003, the Songwriter Deluxe Studio EC combines Gibson’s time-honored bracing patterns of the 1930s with Gibson's classic square-shoulder shape, which gained world-wide recognition in the early 1960s.

At the heart of Gibson's square-shoulder dreadnought line of acoustic guitars is the Songwriter Series, and the Songwriter Deluxe Studio EC is its most fundamental offering. First introduced in 2003, the Songwriter Deluxe Studio EC combines Gibson's time-honored bracing patterns of the 1930s with Gibson's classic square-shoulder shape, which gained world-wide recognition in the early 1960s. Songwriter Deluxe Studio EC. Gold Grover Rotomatic Tuners Grover's original Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the Songwriter Deluxe Studio EC. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today's Songwriter Deluxe Studio EC. Over the years, it has also been called a "thistle" because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a "crown." Double-ring rosette with an abalone-filled middle. Gibson crown logo. Pickguard The pickguard on the Songwriter Deluxe Studio EC is a custom line design made from Tortec. As with all of Gibson's pickguards, the coloring, inlay, and binding are all done by hand. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Songwriter Deluxe Studio EC is one of Gibson's finest. It is a double-ring rosette with an abalone-filled middle, with both outer rings consisting of six-ply binding, adding a stylish, understated elegance to the Songwriter line. Ebony Fingerboard with Rolled Edges and Split Parallelogram Inlays The fingerboard of Gibson's Songwriter Deluxe Studio EC is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The Songwriter Deluxe Studio EC's split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Songwriter Deluxe Studio EC. Body Tonewoods The body design of the Songwriter Deluxe Studio EC is known as a small dreadnought. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from rosewood, giving the Songwriter a balanced, warm tone with clear lows and solid treble registers. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Fishman Prefix Plus-T Acoustic Pickup System The Songwriter Deluxe Studio EC from Gibson Acoustic comes equipped with the popular Prefix Plus-T acoustic pickup system from Fishman. Like the rest of Fishman's Prefix onboard preamp family, the Prefix Plus-T features ultra-quiet electronics and individual controls for volume, bass, treble and semi-parametric contour. It also features a built-in chromatic tuner, along with a separate control for brilliance and a phase switch and notch filter to help fight against unwanted feedback. The Plus-T's unique controls let you adjust the sound for any number of playing styles, including fingerstyle and straight strumming. It can also be adjusted to emphasize extreme bass and treble for a "scooped" mids effect, or for cutting through the mix when you need to be heard. The Prefix Plus-T works with a standard 9V battery. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The bracing pattern inside the Songwriter Deluxe Studio EC is based on the design used for Gibson's celebrated Advanced Jumbo models of the 1930s, consisting of a wider "X" pattern that allows the top to vibrate more freely and push the sound toward the soundhole. The result is an instrument that delivers incredible response, and a superior dynamic range with balanced, warm tones, clear lows, and solid treble registers. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the Songmaker Deluxe Studio--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish.

A true legend of acoustic instruments, the Gibson Hummingbird was first introduced in 1960 as Gibson’s earliest square-shoulder dreadnought. Superb for all styles of playing, with a capacity for rich, first-position folk chords and intricate solo playing, the Hummingbird quickly became the icon of the Gibson acoustic line, and a favorite among legends like Gram Parsons and Keith Richards. Today’s Gibson Hummingbird is made to the specs of the first model produced in 1960, and still stands as one of the finest—and beautiful—acoustic guitars in the world.

The J-45 has been Gibson’s top-selling acoustic guitar for years. Nicknamed “The Workhorse” and first introduced in 1942, Gibson’s most popular acoustic is now the icon of its round-shoulder, dreadnought line, world renowned for its full, balanced expression, warm bass, and excellent projection. Subtle changes to the bracing of its predecessor—the J-35—made Gibson’s J-45 one of most technically advanced guitars of its time.

The J-45 has been Gibson's top-selling acoustic guitar for years. Nicknamed "The Workhorse" and first introduced in 1942, Gibson's most popular acoustic is now the icon of its round-shoulder, dreadnought line, world renowned for its full, balanced expression, warm bass, and excellent projection. Subtle changes to the bracing of its predecessor--the J-35--made Gibson's J-45 one of most technically advanced guitars of its time. The Workhorse. Nickel Grover Rotomatic Tuners Grover's original Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the J-45. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Body Tonewoods (back, sides and top) The top of the J-45 is made from AA-grade Sitka spruce, while the back and sides are constructed from pattern grade Honduras mahogany, giving the J-45 its world renowned full, balanced expression, warm bass, and excellent projection. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Tapered dovetail neck joint allows the body and neck to become one solid piece of resonating wood. Features a a radiused, or "tuned" top. Body binding adds a subtle elegance. Pickguard The pickguard for the J-45 is Gibson's standard plain tortoise tear drop shape, which has been used on the J-45 since its introduction in 1942. As with all of Gibson's pickguards, the coloring and binding are all done by hand. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-45 is a simple single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the J-45 Standard. Rosewood Fingerboard with Rolled Edges and Dot Inlays The fingerboard of Gibson's J-45 is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-45's dot inlays are made of genuine mother of pearl, measuring approximately 1/4-inch in diameter, and are inserted into the fingerboard using a process that eliminates gaps. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-45. L.R. Baggs Element Active Acoustic Pickup System Gibson Acoustic's J-45 comes equipped with the popular Element Active Acoustic Pickup System from L.R. Baggs, which features a low-profile undersaddle element--or transducer--that's proven more stable and durable than many standard ribbon-type pickups. Combined with an onboard preamp with an unobtrusive volume control mounted just inside the soundhole, the Element delivers performance not previously attainable from an undersaddle pickup. Its sleek and effective design removes unnecessary internal components to enhance the coupling between the pickup and the guitar, and improve the sensitivity of the transducer for a robust, lively, and natural acoustic sound with excellent dynamics and delicate high end. The Element works with a standard 9V battery, which is housed inside the guitar in L.R. Bagg's new "Battery Bagg." Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The J-45 features a variation of Gibson's "X" bracing pattern situated behind the soundhole, with a set of tall and thin braces for the back, and scalloped tall and thin braces for the top. This legendary bracing design delivers a balanced expression, with punchy, deep lows, warm mids, and clear, crisp highs. When pushed for more volume, the J-45 projects a natural compression, which helps it blend nicely with any accompaniment. Tapered Dovetail Neck Joint The dovetail neck joint is one of the oldest--and best--ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill. Radius Top The top of many "flat-top" guitars are under a lot of stress from the pull of the strings, which can eventually compromise the top. So, while most acoustic guitars are true "flat-top" guitars, all of the acoustics produced by Gibson in Bozeman, Montana have a radiused, or "tuned" top. Instead of being perfectly flat, a radiused or "tuned" top is raised slightly, and a special instrument is used to shape the top braces to the radius of the top. This process adds tension and strengthens the top, creating a less stressful joint where the top meets the sides and reducing the stresses of string pull. It also results in a "speaker cone" effect that maximizes sound projection, adding a significant boost to mid-range levels for a more balanced acoustic tone. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the J-45 Standard--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathes and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. Body Binding In general, a guitar's binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar's body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and left to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic's rich guitar-making history.

Gibson’s new J-45 True Vintage captures the genuine spirit of Gibson’s most popular acoustic. Nicknamed “The Workhorse” for its simple, rock-solid construction, the new J-45 True Vintage—hand-made by Gibson Acoustic in Bozeman, Montana—offers the build, materials, looks, and tone of this legendary guitar as it was the day it was first introduced in 1942. This new model stays true to the original in every way, including the same round-shoulder dreadnought body design, with a top made from Adirondack red spruce, custom vintage top bracing, and back and sides constructed from pattern-grade mahogany from Honduras.

Gibson's new J-45 True Vintage captures the genuine spirit of Gibson's most popular acoustic. Nicknamed "The Workhorse" for its simple, rock-solid construction, the new J-45 True Vintage--hand-made by Gibson Acoustic in Bozeman, Montana--offers the build, materials, looks, and tone of this legendary guitar as it was the day it was first introduced in 1942. This new model stays true to the original in every way, including the same round-shoulder dreadnought body design, with a top made from Adirondack red spruce, custom vintage top bracing, and back and sides constructed from pattern-grade mahogany from Honduras. The genuine spirit of Gibson's most popular acoustic. Gibson Logo The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time--the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic, gold block script logo, stamped onto the face of the headstock, with the period-correct banner "Only A Gibson Is Good Enough" directly underneath it. It represents more than a century of originality and excellence. There is simply no equal. Nickel Gotoh White Button Tuners Gibson's J-45 True Vintage features Gotoh's nickel white button tuners. With a gear ratio of 15:1, these nickel Gotoh tuners deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, with a special lubricant inside the gear box for smooth and accurate tuning stability. A simple single-ring rosette consisting of three-ply binding adds a stylish, understated elegance. Classic, gold block script logo. Pickguard The pickguard for the J-45 True Vintage is Gibson's standard plain tortoise tear drop shape, which has been used on the J-45 since its introduction in 1942. As with all of Gibson's pickguards, the coloring, inlay, and binding are all done by hand. Tapered Dovetail Neck Joint The dovetail neck joint is one of the oldest--and best--ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-45 True Vintage is a simple single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the J-45 True Vintage. Rosewood Fingerboard with Traditional Binding and Classic Dot Inlays The fingerboard of Gibson's J-45 Vintage is constructed from the highest grade Madagascar rosewood on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-45's classic dot inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The fingerboard also sports traditional binding over the fret ends, which was a staple feature of many classic Gibson acoustics for many years. Body Tonewoods (back, sides and top) The top of the J-45 True Vintage is made from top-grade Adirondack red spruce, while the back and sides are constructed from pattern grade Honduran mahogany, giving the J-45 True Vintage the same full, balanced expression, warm bass, and excellent projection that earned the original J-45 its much-heralded reputation. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The J-45 True Vintage features a variation of Gibson's "X" bracing pattern situated behind the soundhole, with a set of tall and thin braces for the back, and scalloped tall and thin braces for the top, all bonded with hot hide glue. This legendary bracing design--exactly as it appeared in the first J-45 in 1942--delivers a balanced expression, with punchy, deep lows, warm mids, and clear, crisp highs. When pushed for more volume, the J-45 True Vintage projects a natural compression, which helps it blend nicely with any accompaniment. Radius Top The top of many "flat-top" guitars are under a lot of stress from the pull of the strings, which can eventually compromise the top. So, while most acoustic guitars are true "flat-top" guitars, all of the acoustics produced by Gibson in Bozeman, Montana have a radiused, or "tuned" top. Instead of being perfectly flat, a radiused or "tuned" top is raised slightly, and a special instrument is used to shape the top braces to the radius of the top. This process adds tension and strengthens the top, creating a less stressful joint where the top meets the sides and reducing the stresses of string pull. It also results in a "speaker cone" effect that maximizes sound projection, adding a significant boost to mid-range levels for a more balanced acoustic tone. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the J-45 True Vintage--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. Body Binding In general, a guitar's binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar's body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and hung to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic's rich guitar-making history.

Originally built to cut through the loudest acoustic ensembles, this dreadnought defined the new American music scene of the 1930s on its way to becoming the world's most famous acoustic. The SJ-200 Custom resonates with deep, well-balanced tone and powerful sound that leaps from the solid Sitka spruce top and beautiful curly maple body. The Fishman Ellipse Aura pickup system faultlessly amplifies the robust, lively, and natural acoustic sound, providing excellent dynamics and delicate high end.

This black, Tolex Epiphone Les Paul Hardshell Case is just what you need to protect your Les Paul guitar from the rigors of the road. The plush-lined, hardshell case serves as a shock absorber with an inner compartment to hold extra strings, straps, picks, slides, etc.

This veteran from the British Invasion is back, but without the vintage price tag! Mod looks and warm, bass tone come together as a result of its hollow laminated Maple body with a short-scale 30.5" neck, rosewood fingerboard and bridge, posh Flame Maple top. The Epiphone Viola Bass is voiced by two bass Mini-humbucker pickups and comes with Chrome hardware.

This SKB case has been designed to fit Les Paul type instruments. The specially molded interior grips the guitar to provide the protection required by today's active musician who plays many different venues with various transportation requirements. SKB products are fully warranted against defects in materials and craftsmanship while in possession of the original owner. SKB will repair or replace any product found to be defective. Damages due to accident, improper care, negligence or normal wear, where SKB is not at fault, will be repaired for a reasonable charge. The entire line of SKB guitar cases is world famous for unsurpassed protection and solid value. Virtually every major guitar manufacturer worldwide, has selected SKB as their original equipment case supplier.

Deluxe wood case for les paul-style guitars; vintage brown exterior

CASE Epiphone ThunderBird Bass

11 screw hole; For SG Standard (Two Humbucker Pickups); 3 Ply Construction- Black /White/Black; Brand New With Protective Film On The Top.

Gigbag Epiphone Solidbody Electric

From the heavy-duty arched top to the crushed velvet interior, these hardshell cases are vintage in every detail. The cases feature a black tolex covering with a strong arched top, a plush velvet interior, six locking mechanisms, an accessory compartment and more. These hardshells were modeled after classic pre-war style cases and will protect your instrument with their tough design and dense interior.

If you want a real SG bass, the Epiphone EB-0 is your ticket and it won't break the bank. Reach all the upper frets on a carved SG Mahogany body with bolted Mahogany neck, and Rosewood fretboard. Awesome vintage bass tone is yours with the single "SideWinder" Bass Humbucker pickup at the end of the short-scale neck. Chrome hardware, including fully-adjustable 3-point bridge.

Offering Epiphone's classic SG shape as a bass guitar, the Epiphone EB-0 electric bass in ebony black is nicely affordable and easy to play thanks to its short-scale, narrow neck and total fret access. It features a carved SG mahogany body for a vintage bas tone, a single SideWinder bass humbucker pickup, rosewood fretboard with dot inlay, and chrome hardware including a fully-adjustable 3-point bridge. Specifications Pickups: SideWinder Humbucker Scale: 30.5 inches Nut width: 1.5 inches Body material: Mahogany Neck material: Bolted mahogany Fretboard material: Rosewood

Deluxe Molded Case for 335-Style Guitars

At the heart of Gibson’s square-shoulder dreadnought line of acoustic guitars is the Songwriter Series, and the Songwriter Deluxe Studio EC is its most fundamental offering, in a distinct cutaway design. First introduced in 2003, the Songwriter Deluxe Studio EC combines Gibson’s time-honored bracing patterns of the 1930s with Gibson's classic square-shoulder shape, which gained world-wide recognition in the early 1960s.

At the heart of Gibson's square-shoulder dreadnought line of acoustic guitars is the Songwriter Series, and the Songwriter Deluxe Studio EC is its most fundamental offering. First introduced in 2003, the Songwriter Deluxe Studio EC combines Gibson's time-honored bracing patterns of the 1930s with Gibson's classic square-shoulder shape, which gained world-wide recognition in the early 1960s. Songwriter Deluxe Studio EC. Gold Grover Rotomatic Tuners Grover's original Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the Songwriter Deluxe Studio EC. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today's Songwriter Deluxe Studio EC. Over the years, it has also been called a "thistle" because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a "crown." Double-ring rosette with an abalone-filled middle. Gibson crown logo. Pickguard The pickguard on the Songwriter Deluxe Studio EC is a custom line design made from Tortec. As with all of Gibson's pickguards, the coloring, inlay, and binding are all done by hand. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Songwriter Deluxe Studio EC is one of Gibson's finest. It is a double-ring rosette with an abalone-filled middle, with both outer rings consisting of six-ply binding, adding a stylish, understated elegance to the Songwriter line. Ebony Fingerboard with Rolled Edges and Split Parallelogram Inlays The fingerboard of Gibson's Songwriter Deluxe Studio EC is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The Songwriter Deluxe Studio EC's split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Songwriter Deluxe Studio EC. Body Tonewoods The body design of the Songwriter Deluxe Studio EC is known as a small dreadnought. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from rosewood, giving the Songwriter a balanced, warm tone with clear lows and solid treble registers. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Fishman Prefix Plus-T Acoustic Pickup System The Songwriter Deluxe Studio EC from Gibson Acoustic comes equipped with the popular Prefix Plus-T acoustic pickup system from Fishman. Like the rest of Fishman's Prefix onboard preamp family, the Prefix Plus-T features ultra-quiet electronics and individual controls for volume, bass, treble and semi-parametric contour. It also features a built-in chromatic tuner, along with a separate control for brilliance and a phase switch and notch filter to help fight against unwanted feedback. The Plus-T's unique controls let you adjust the sound for any number of playing styles, including fingerstyle and straight strumming. It can also be adjusted to emphasize extreme bass and treble for a "scooped" mids effect, or for cutting through the mix when you need to be heard. The Prefix Plus-T works with a standard 9V battery. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The bracing pattern inside the Songwriter Deluxe Studio EC is based on the design used for Gibson's celebrated Advanced Jumbo models of the 1930s, consisting of a wider "X" pattern that allows the top to vibrate more freely and push the sound toward the soundhole. The result is an instrument that delivers incredible response, and a superior dynamic range with balanced, warm tones, clear lows, and solid treble registers. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the Songmaker Deluxe Studio--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish.

A true legend of acoustic instruments, the Gibson Hummingbird was first introduced in 1960 as Gibson’s earliest square-shoulder dreadnought. Superb for all styles of playing, with a capacity for rich, first-position folk chords and intricate solo playing, the Hummingbird quickly became the icon of the Gibson acoustic line, and a favorite among legends like Gram Parsons and Keith Richards. Today’s Gibson Hummingbird is made to the specs of the first model produced in 1960, and still stands as one of the finest—and beautiful—acoustic guitars in the world.

Since its introduction in 1960, the original Hummingbird has been one of Gibson Acoustic’s most enduring models. The new Hummingbird True Vintage is a tribute to the icon of Gibson’s square-shoulder dreadnought acoustic line. While the original Hummingbird has evolved over the years to reflect critical advances in acoustic guitar making, the Hummingbird True Vintage is a throwback to the way the instrument looked and played in 1960, satisfying the demands of even the most discriminating vintage guitar buyers.

The haunting, timeless sound of the blues legacy.Nickel Gotoh White Button TunersGibsons Robert Johnson L-1 features Gotohs SD91 white button tuners. With a gear ratio of 15:1, the Gotohs deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability.Ebony Fingerboard with Rolled Edges and Dot InlaysThe fingerboard of Gibsons Robert Johnson L-1 is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibsons team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The L-1s dot inlays, as well as the custom Robert Johnson signature inlay at the end of the fingerboard, are made of genuine mother of pearl, and are inserted using a process that eliminates gaps and doesnt require the use of fillers. The fingerboard also sports a rolled edgeinstead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustics rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Robert Johnson L-1.RosetteA rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Robert Johnson L-1 is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the Robert Johnson L-1.Body Tonewoods (back, sides and top)The Robert Johnson L-1 is based on the body design of Gibsons legendary L-00 small body. The top is made from AA-grade Sitka spruce, while the back and sides a...

Gibson Acoustic's Robert Johnson L-1 Guitar: A Haunting, Timeless Sound Gibson Acoustic's Robert Johnson L-1 guitar captures the haunting, timeless sound of the man whose legacy and contributions to the blues are unmatched. Though he died tragically in 1938 at the age of 27, Johnson's historic blues recordings have inspired countless generations of blues artists and guitarists. The Robert Johnson L-1 guitar is tribute to his instrument of choice. It features Gibson's traditional L-1 body design, exactly as it was on the first L-1 in 1926. Gibson's Robert Johnson L-1 Acoustic Guitar Features Nickel Gotoh White Button Tuners Gibson's Robert Johnson L-1 features Gotoh's SD91 white button tuners. With a gear ratio of 15:1, the Gotoh’s deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability. Ebony Fingerboard with Rolled Edges and Dot Inlays on the Gibson Acoustic L-1 Guitar The fingerboard of Gibson's Robert Johnson L-1 is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The L-1's dot inlays, as well as the custom Robert Johnson signature inlay at the end of the fingerboard, are made of genuine mother of pearl, and are inserted using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Robert Johnson L-1. An Understated Style: Gibson Robert Johnson L-1 Acoustic Guitar's Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Robert Johnson L-1 is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the Robert Johnson L-1. Robert Johnson L-1: The Body Tonewoods (back, sides and top) The Robert Johnson L-1 is based on the body design of Gibson's legendary L-00 small body. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from Honduran mahogany, giving the Robert Johnson L-1 a combination of tonewoods and features that produce a volume and clarity not expected from such a small guitar, and the rich, warm tone central to Johnson's unforgettable sound. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Gibson Acoustic Guitars Feature Hand-Scalloped, Radiused Bracing Every acoustic guitar made by Gibson features a hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The inside of the Robert Johnson L-1 acoustic features Gibson's traditional "X" bracing pattern from the early 1900s, which helps project a volume and clarity not expected from such a small guitar, and the rich, warm tone central to Johnson’s unforgettable sound. The Gibson Story The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time--the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic, mother-of-pearl logo, pressed onto the face of the headstock. It represents more than a century of originality and excellence. There is simply no equal.

Anti-scratch to protect the guitar ,Easy to install ; Made of PVC plastic ; With Self-adhesive tape on the back and uncover it to stick on the guitar ; Hummingbird pattern.

A true legend of acoustic instruments, the Gibson Hummingbird Pro acoustic-electric guitar was first introduced in 1960 as Gibson's earliest square-shoulder dreadnought guitar. Superb for all styles of playing, with a capacity for rich, first-position folk chords and intricate solo playing, the Gibson Hummingbird quickly became an iconic acoustic line, and a favorite among legends like Gram Parsons and Keith Richards. The Hummingbird has been one of Gibson Acoustic's most enduring guitar line. Body tonewoods (back, sides and top) The body design of the Gibson Hummingbird Pro acoustic electric guitar is known as a square shoulder dreadnought. The top is made from Sitka spruce, while the back and sides are constructed from mahogany, giving the Hummingbird True Vintage a perfectly balanced midrange tone, with unbiased rich lows and clear treble registers. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Rosewood fingerboard with traditional binding and split parallelogram inlays The resilience of rosewood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The Gibson Hummingbird Pro guitar's split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The fingerboard also sports traditional binding over the fret ends, which was a staple feature of many classic Gibson acoustic guitars for many years. Bracing Every acoustic electric guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, handmade guitars. By scalloping each brace by hand, the natural sound of the acoustic guitar is focused more toward the center of the body, enhancing the guitar's sound projection. Gibson Acoustic's Hummingbird Pro guitar sports a single "X" bracing patte

The Gibson Hummingbird Artist is a square shoulder dreadnought acoustic-electric guitar handcrafted in the USA. Featuring a washed heritage cherry finish; solid, premium Sitka spruce top; and mahogany back and sides, this arresting acoustic-electric's tone is as ruby-throated as its namesake! A round mahogany neck with rosewood fingerboard gives your fingers the ability to take flight over mother-of-pearl parallelogram inlays. Plug the Hummingbird guitar in and jam with an L.R. Baggs Element undersaddle transducer and preamp that keeps the look clean with an ingenious soundhole mounted volume control. Binding is 6-ply on top and 4-ply on the back. Gold keystone tuners, a mother-of-pearl crown inlay on the headstock, tortoise pickguard and a traditional Gibson rosewood bridge complete the look. Gibson includes a premium hardshell case with each Hummingbird guitar.

The legacy of Gibson's line of celebrated Jumbos is not lost in the J-185 EC. This eye-catching model builds on the traditional foundation of Gibson's Jumbo body style, and moves into the present vanguard with a cutaway design for easier playability, along with several elegant, modern appointments for increased aesthetic appeal. The sound is everything you expect from a Gibson Jumbo: warm, huge low end with ringing, harmonically rich treble response, capable of achieving a pure dynamic contrast, which makes it the perfect acoustic for just about any musical genre. Nickel Grover Rotomatic Tuners Grover's original Rotomatic tuners are an engineering marvel, with style and performance exactly suited for the J-185 EC. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today's J-185 EC. Over the years, it has also been called a "thistle" because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a "crown." Pickguard The tortoise pickguard for the J-185 EC is Gibson's standard 1950s-style Jumbo shape. As with all of Gibson Acoustic's pickguards, the coloring, inlay, and binding are all crafted by hand. Abalone Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-185 EC is a double-ring rosette wi

Gibson's J-185 EC: Beauty and Sonic Excellence Gibson's J-185 EC personifies the essence of aesthetic beauty and sonic excellence expected in a Gibson Jumbo acoustic. Its brilliance is felt as soon as the first chord is strummed, releasing the qualities and characteristics of a true legend. Gibson's J-185 EC is everything a Jumbo acoustic should be, and then some. It starts with a premium Sitka spruce top matched with some of the finest Indian rosewood in the world for the back and sides, giving the J-185 EC a warm, rich tone together with the usual full lows and well-defined highs. The J-185 EC Acoustic-Electric Guitar Features Nickel Grover Rotomatic TunersGrover's original Rotomatic tuners are an engineering marvel, with style and performance exactly suited for the J-185 EC. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Fishman Aura Pro Acoustic Pickup System Gibson's J-185 EC comes equipped with a built-in Fishman Aura Pro, featuring Fishman’s popular Aura Acoustic Imaging Technology. This ground-breaking pickup system reproduces the natural sound of the J-185 EC as miked in a professional studio, and onstage, thus eliminating the complicated setups of expensive microphones. Auro Pro uses digital algorithms to create images of various microphones' captured sounds. Players can then blend these images with an acoustic guitar's pickup to produce an immediate and dramatic improvement in amplified sound. The Fishman Aura Pro's preamp includes a tuner, and is mounted on the bass side rim of the upper bout. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today's J-185 EC. Over the years, it has also been called a "thistle" because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a "crown." Pickguard The pickguard for the J-185 EC is a custom series designed especially for its distinct cutaway shape. As with all of Gibson Acoustic's pickguards, the coloring, inlay, and binding are all done by hand. Gibson Acoustic Guitars: Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument’s sound projection. The bracing pattern inside the J-185 EC was created in 1951 as a smaller version of the design used in the Gibson’s legendary Super Jumbos. This traditional "X" pattern delivers an exceptionally balanced tonal palette ideal for both the stage and studio environments, making the J-185 EC a standard choice among today’s discerning players. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the J-185 EC--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It’s also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. Body BindingIn general, a guitar's binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar's body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and hung to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic's rich guitar-making history. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the J-185 EC--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. The Gibson Story The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time--the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic, mother-of-pearl logo, pressed onto the face of the headstock. It represents more than a century of originality and excellence. There is simply no equal.

The 2009 Songwriter Deluxe Standard EC sets a new benchmark for today's acoustic guitars by combining several time-honored production elements of the past with a number of modern, cutting-edge appointments. Using Gibson's popular Songwriter Deluxe Studio as its template, the Songwriter Deluxe Standard EC adds a new compound radius fingerboard for electric guitar-like playing action, and incorporates Gibson’s renowned red spruce top bracing from the 1930’s, bonded with traditional hide glue for maximum tone and volume.

The 2009 Songwriter Deluxe Standard EC sets a new benchmark for today's acoustic guitars by combining several time-honored production elements of the past with a number of modern, cutting-edge appointments. Using Gibson's popular Songwriter Deluxe Studio as its template, the Songwriter Deluxe Standard EC adds a new compound radius fingerboard for electric guitar-like playing action, and incorporates Gibson's renowned red spruce top bracing from the 1930's, bonded with traditional hide glue for maximum tone and volume. A new benchmark for today's acoustic guitars. Gold Grover Rotomatic Tuners Grover's original Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the Songwriter Deluxe Standard EC. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today's Songwriter Deluxe Standard EC. Over the years, it has also been called a "thistle" because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a "crown." Pickguard The pickguard on the Songwriter Deluxe Standard EC is a custom line design made from Tortec. As with all of Gibson's pickguards, the coloring, inlay, and binding are all done by hand. Tapered dovetail neck joint allows the body and neck to become one solid piece of resonating wood. Features a a radiused, or "tuned" top. Body binding adds a subtle elegance. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Songwriter Deluxe Standard EC is one of Gibson's finest. It is a double-ring rosette with an abalone-filled middle, with both outer rings consisting of six-ply binding, adding a stylish, understated elegance to the Songwriter line. Ebony Fingerboard with Rolled Edges and New Deluxe Standard Inlays The fingerboard of Gibson's Songwriter Deluxe Standard EC is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The fingerboard inlays of the Songwriter Deluxe Standard EC are a completely new design made of genuine mother of pearl, and inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Songwriter Deluxe Standard EC. Body Tonewoods The body design of the Songwriter Deluxe Standard EC is known as a small dreadnought. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from rosewood, giving the Songwriter a balanced, warm tone with clear lows and solid treble registers. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Fishman Aura Pro Acoustic Pickup System Gibson's Songwriter Deluxe Standard EC comes equipped with a built-in Fishman Ellipse Aura electronics package, which combines Fishman's most sophisticated onboard preamp design with the power of the popular Aura Acoustic Imaging Technology. The result is acoustic sound that is exceptionally accurate and true to life. Already loaded onto the system are four images that best match the instrument's natural tonal characteristics. You can make adjustments to any of them using the system's Pickup/Image Blend or Volume controls, or use the switchable Natural I and Natural II low frequencies for tone shaping. You can also control feedback with the Phase switch and automatic Anti-Feedback device control. The pickup's ergonomic soundhole-mounted design puts slider controls at your fingertips so you can maintain a natural playing position at all times. The Fishman Ellipse Aura is used by such noted musicians as Brad Paisley, Pete Townshend and Travis Tritt. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The bracing pattern inside the Songwriter Deluxe Standard EC is based on the design used for Gibson's celebrated Advanced Jumbo models of the 1930s, consisting of a wider "X" pattern that allows the top to vibrate more freely and push the sound toward the soundhole. The result is an instrument that delivers incredible response, and a superior dynamic range with balanced, warm tones, clear lows, and solid treble registers. Tapered Dovetail Neck Joint The dovetail neck joint is one of the oldest--and best--ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill. Radius Top The top of many "flat-top" guitars are under a lot of stress from the pull of the strings, which can eventually compromise the top. So, while most acoustic guitars are true "flat-top" guitars, all of the acoustics produced by Gibson in Bozeman, Montana have a radiused, or "tuned" top. Instead of being perfectly flat, a radiused or "tuned" top is raised slightly, and a special instrument is used to shape the top braces to the radius of the top. This process adds tension and strengthens the top, creating a less stressful joint where the top meets the sides and reducing the stresses of string pull. It also results in a "speaker cone" effect that maximizes sound projection, adding a significant boost to mid-range levels for a more balanced acoustic tone. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar--including the Songmaker Deluxe Standard--is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally "breathe" and mature. Microscopically thin, the finish on a Gibson acoustic guitar first requires seven main coats of nitrocellulose lacquer. After drying overnight, the initial seven coats are then level sanded and given two additional coats. Left to dry for five additional days, the finish is then wet sanded and buffed to its final glass-like sheen. The time-consuming nature of applying a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It's also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. Body Binding In general, a guitar's binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar's body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and hung to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic's rich guitar-making history.

A true legend of acoustic instruments, the Gibson Hummingbird Pro acoustic-electric guitar was first introduced in 1960 as Gibson's earliest square-shoulder dreadnought. Superb for all styles of playing, with a capacity for rich, first-position folk chords and intricate solo playing, the Hummingbird quickly became the icon of the Gibson acoustic line, and a favorite among legends like Gram Parsons and Keith Richards. The Hummingbird acoustic-electric guitar has been one of Gibson Acoustic's most enduring guitars. Body tonewoods (back, sides and top) The body design of the cutaway Gibson Hummingbird Pro is known as a square shoulder dreadnought that gives you superior access to the upper fingerboard. The top is made from Sitka spruce, while the back and sides are constructed from mahogany, giving the Hummingbird True Vintage a perfectly balanced midrange tone, with unbiased rich lows and clear treble registers. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson's guitar-building process. Rosewood fingerboard with traditional binding and split parallelogram inlays The resilience of rosewood makes the fingerboard on the Gibson Hummingbird Pro acoustic-electric guitar extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers. The acoustic electric guitar's fingerboard also sports traditional binding over the fret ends, which was a staple feature of many classic Gibson acoustics for many years. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, handmade guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's so

The arrival of the Gibson Les Paul Studio Electric Guitar in 1983 offered guitarists all the essential elements of a Les Paul Standard, including a carved top and humbucking pickups. Its simple yet elegant design quickly helped it become the most popular model in the Les Paul Series. Cutting-yet-rich tone—the hallmark of the Les Paul—pours out of the 490R and 498T Alnico II magnet humbucker pickups, which are mounted on a carved maple top with a mahogany back. The faded finish models are equipped with BurstBucker Pro pickups and a mahogany top. The Les Paul Studio Electric Guitar includes a Gibson hardshell case (Faded and satin finish models come with a gig bag) and a limited lifetime warranty. Body and Finish A solid, carved maple top and chambered mahogany body give the Les Paul Studio the same tonewood combination that has been helping Les Paul Standards rock for nearly 60 years. And each of its four available nitrocellulose finishes makes for a stunning looking guitar, even while its no-frills approach eliminates body binding and pickguard. Mahogany is a medium-dense wood with excellent resonance and superior sustain, and it offers a rich, round, warm tone, but with plenty of high-end sheen and good mid-range presence. Add a solid maple top, and the guitar's tone is enhanced with added clarity, sustain and definition. The body's chambering also enhances its mellow acoustic resonance, and adds further air to the midrange content. Pickups Gibson's 498T and 490R pickups ("T" for treble, and "R" for rhythm) have the traditional characteristics of the original "Patent Applied For" pickups of the late 1950s, with a few upgrades. These pickups take advantage of wax potting, which does away with any air space inside the pickup, therefore lessening the chances of microphonic feedback. The result is a humbucker with the tonal characteristics of an original PAF, with a slight increase in upper mid-range response. The Gibson 498T bridge pickup is the 490R's ide

What's so special about the Epiphone Les Paul Special II Electric Guitar? The super-low price for starters and that's not all. It gives you all the essential elements of a Les Paul. Made with a mahogany body, bolt-on mahogany neck, smooth 22-fret rosewood fingerboard, this baby is every bit as handsome as its uptown cousins. Features 700T/650R open-coil humbucking pickups that deliver long, singing sustain and true Les Paul tones. The LockTone Tune-O-Matic bridge and stopbar tailpiece add more sustain and make string changing easier. Limited lifetime warranty.

That trademark Les Paul shape in an economical package, including to open-coil Alnico V Humbucker pickups for great classic sound and the Tune-o-matic bridge/Stopbar tailpiece combo for sustain and that Les Paul signature tone. Les Paul Features in an Economical Package. Angled Headstock Unlike cheaper designs, all Epiphones feature a 14-degree headstock that gives you more pressure at the nut and so you get more sustain with less tuning hang-ups caused by "string-tree" gadgets. Alnico V Humbucker pickups and the industry-standard Tune-O-Matic bridge. Rosewood fretboard with dot inlays. Double-Waxed Pickups Epiphone utilizes a double vacuum waxing process that ensures optimum performance. The pickup is first placed in the specialized wax vacuuming system before the cover is put in place to ensure that the wax fully penetrates to the very center of the pickup and solidifies all parts. After the cover is placed on, it is again given a second vacuum wax bath until the unit is completely saturated with wax. Output Jack To increase reliability and ensure consistent performance, Epiphone's proprietary output jacks feature an improved contact shape and heavy-duty spring steel. Toggle Switches All Epiphones feature our all-metal, USA designed switches for reliable contact and longer life. Tunomatic Bridge Fully adjustable, the tunomatic remains a classic after over 50 years. Unlike guitars fitted with tremolos, there are no tuning or re-stringing difficulties. Plus, tone and sustain are improved because all string vibrations are transferred directly to the guitar. Potentiometers Epiphone is passionate about performance. That's why their instruments use one-inch diameter potentiometers for better "throw," longer life and reliable service. Quick-Connectors For unequalled reliability as well as ease of service, Epiphone wiring harnesses feature quick-connectors. Specs Pickups: 700T, 650R Hardware: Chrome Scale: 24.75 inches Nut width: 1.68 inches Neck: Bolt, Mahogany Fretboard: Rosewood Inlays: Dot Body material: Basswood Tailpiece: Stopbar Finishes available: Ebony, White, Heritage Cherry Sunburst, Vintage Sunburst, Wine Red

The haunting, timeless sound of the blues legacy.Nickel Gotoh White Button TunersGibsons Robert Johnson L-1 features Gotohs SD91 white button tuners. With a gear ratio of 15:1, the Gotohs deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability.Ebony Fingerboard with Rolled Edges and Dot InlaysThe fingerboard of Gibsons Robert Johnson L-1 is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibsons team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The L-1s dot inlays, as well as the custom Robert Johnson signature inlay at the end of the fingerboard, are made of genuine mother of pearl, and are inserted using a process that eliminates gaps and doesnt require the use of fillers. The fingerboard also sports a rolled edgeinstead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustics rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Robert Johnson L-1.RosetteA rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Robert Johnson L-1 is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the Robert Johnson L-1.Body Tonewoods (back, sides and top)The Robert Johnson L-1 is based on the body design of Gibsons legendary L-00 small body. The top is made from AA-grade Sitka spruce, while the back and sides a...

Gibson Acoustic's Robert Johnson L-1 Guitar: A Haunting, Timeless Sound Gibson Acoustic's Robert Johnson L-1 guitar captures the haunting, timeless sound of the man whose legacy and contributions to the blues are unmatched. Though he died tragically in 1938 at the age of 27, Johnson's historic blues recordings have inspired countless generations of blues artists and guitarists. The Robert Johnson L-1 guitar is tribute to his instrument of choice. It features Gibson's traditional L-1 body design, exactly as it was on the first L-1 in 1926. Gibson's Robert Johnson L-1 Acoustic Guitar Features Nickel Gotoh White Button Tuners Gibson's Robert Johnson L-1 features Gotoh's SD91 white button tuners. With a gear ratio of 15:1, the Gotoh’s deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability. Ebony Fingerboard with Rolled Edges and Dot Inlays on the Gibson Acoustic L-1 Guitar The fingerboard of Gibson's Robert Johnson L-1 is constructed from the highest grade ebony on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The L-1's dot inlays, as well as the custom Robert Johnson signature inlay at the end of the fingerboard, are made of genuine mother of pearl, and are inserted using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Robert Johnson L-1. An Understated Style: Gibson Robert Johnson L-1 Acoustic Guitar's Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Robert Johnson L-1 is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the Robert Johnson L-1. Robert Johnson L-1: The Body Tonewoods (back, sides and top) The Robert Johnson L-1 is based on the body design of Gibson's legendary L-00 small body. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from Honduran mahogany, giving the Robert Johnson L-1 a combination of tonewoods and features that produce a volume and clarity not expected from such a small guitar, and the rich, warm tone central to Johnson's unforgettable sound. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Gibson Acoustic Guitars Feature Hand-Scalloped, Radiused Bracing Every acoustic guitar made by Gibson features a hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument's sound projection. The inside of the Robert Johnson L-1 acoustic features Gibson's traditional "X" bracing pattern from the early 1900s, which helps project a volume and clarity not expected from such a small guitar, and the rich, warm tone central to Johnson’s unforgettable sound. The Gibson Story The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time--the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic, mother-of-pearl logo, pressed onto the face of the headstock. It represents more than a century of originality and excellence. There is simply no equal.

This is the undisputed King of Solidbody Electric guitars with a reign spanning six decades. The Epiphone Les Paul Standard Plus-Top is an eventual must for a guitarist's collection, because this model lives up to its imposing reputation for unmatched tone and sustain. Legendary guitarist and inventor Les Paul lends his signature to every real Les Paul guitar, authenticating his soveriegn design standards, so you know you are getting "the real thing". From the tone-rich, bound, Mahogany body with beautiful Flame Maple top to the set, Mahogany neck and Rosewood fingerboard with traditional trapezoid inlays, to the rich, vintage tone provided by a pair of high-output Alnico Classic Humbuckers, this guitar is the standard for all others. It also features Chrome hardware, Grover™ tuners, with our new Epiphone LockTone™ locking Tune-o-matic bridge and Stop-bar tailpiece that gives you even more sustain and lasting Les Paul warm tone that you dream about.

The Gibson Howard Roberts Fusion III Electric Guitar takes the jazz guitar to the next level. From the musician and guitar designer himself comes the Fusion III with such refinements as a unique control configuration, a more open cutaway and the fingers tailpiece that gives you individual string angle adjustments. Other features include maple top, back, and rims along with a maple neck and ebony fingerboard. American Musical Supply; an Authorized Gibson Internet Retailer AmericanMusical.com has been selected as one of Gibson's very few Authorized Internet Retail Sites in the United States. As one of these select few Internet sites, AMS offers an unparalleled selection of all of Gibson's premium brands, all covered by Gibson's Limited Lifetime Warranty; only available from Authorized Gibson retailers. Gibson is recognized as one of the most respected guitar builders in the world. AMS is proud to have a decades-long history with them and honored that Gibson has chosen us to bring their world-class instruments to you. Look for more new product announcements, special events and promotions in the coming months. Gibson - Pure.

HistorySince the late 1960s, Larry Carlton has appeared on thousands of recordings as a session player, in addition to his work as a solo recording artist which has earned him 18 Grammy nominations to go along with his three Grammy statues. Throughout it all, the main constant in Carltons wide-ranging career has been his beloved 1968 Gibson ES-335, which he still uses today.From the time his parents put a six-string into his hands at the age of six to his first gig at a supper club in 1962 to his first recorded album in 1968, With A Little Help From My Friends, Mr. ES-335 has wowed audiences and critics alike with his virtuosity, and his unique bluesy rhythmic melodies and ringing guitar tone. He immediately endeared himself to anyone who was lucky enough to hear his distinctive blend of American jazz, blue, rock and pop guitar, which he developed by studying the inspirational techniques of artists like Joe Pass, Wes Montgomery, Barney Kessel, B.B. King, along with legendary saxophonist John Coltrane and trumpeter Miles Davis.Body and NeckGibson Custom decided to honor Carltons legacy in 2004 with the introduction of the Larry Carlton ES-335, which faithfully recreates his renowned six-string semi-hollowbody guitar, thus making it the perfect instrument for any musical setting. This legendary instrument features plain laminated maple top, back, and rims, with single-ply, crme-colored binding around the top and back. The finish has been dubbed the Carlton Burst for its resemblance to the faded burst finish on Carltons original guitar. The standard 24-inch scale neck features a slim-taper profile, topped with a 22-fret rosewood fingerboard, pearloid block inlays and single-ply binding along the fingerboard.HardwareA pair of Gibsons legendary 57 Classic pickups deliver all the warm, full tone and balanced response expected from a Gibson humbucker. Other standard appointments include a Nashville Tune-o-matic bridge and stopbar tailpiece, Schaller M6 tuners and chrom...

Since the late 1960s, Larry Carlton has appeared on thousands of recordings as a session player, in addition to his work as a solo recording artist which has earned him 18 Grammy nominations to go along with his three Grammy statues. Throughout it all, the main constant in Carlton's wide-ranging career has been his beloved 1968 Gibson ES-335, which he still uses today. The guitar for the man dubbed "Mr. ES-335." Two '57 Classic humbucking pickups and stopbar tailpiece. Schaller M6 tuners and chrome-finished hardware. History From the time his parents put a six-string into his hands at the age of six to his first gig at a supper club in 1962 to his first recorded album in 1968, With A Little Help From My Friends, "Mr. ES-335 has wowed audiences and critics alike with his virtuosity, and his unique bluesy rhythmic melodies and ringing guitar tone. He immediately endeared himself to anyone who was lucky enough to hear his distinctive blend of American jazz, blue, rock and pop guitar, which he developed by studying the inspirational techniques of artists like Joe Pass, Wes Montgomery, Barney Kessel, B.B. King, along with legendary saxophonist John Coltrane and trumpeter Miles Davis. Body and Neck Gibson Custom decided to honor Carlton's legacy in 2004 with the introduction of the Larry Carlton ES-335, which faithfully recreates his renowned six-string semi-hollowbody guitar, thus making it the perfect instrument for any musical setting. This legendary instrument features plain laminated maple top, back, and rims, with single-ply, creme-colored binding around the top and back. The finish has been dubbed the "Carlton Burst" for its resemblance to the faded burst finish on Carlton's original guitar. The standard 24-3/4-inch scale neck features a slim-taper profile, topped with a 22-fret rosewood fingerboard, pearloid block inlays and single-ply binding along the fingerboard. Hardware A pair of Gibson's legendary '57 Classic pickups deliver all the warm, full tone and balanced response expected from a Gibson humbucker. Other standard appointments include a Nashville Tune-o-matic bridge and stopbar tailpiece, Schaller M6 tuners and chrome-finished hardware. The Larry Carlton ES-335 from Gibson Custom comes with the standard Gibson Custom case and certificate of authenticity. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not "seal" wood in an airtight shell--as a poly finish does--and allows the wood to breathe and age properly. All VOS (Vintage Original Spec) series guitars will use a proprietary process that includes unique steps for staining, wet-sanding, and hand-rubbing; subsequently the guitars reflect what a well-cared for 40-year-old guitar looks like. The result is a remarkable patina that will delight even the most discriminating enthusiast.

A faithful reproduction of an iconic guitar, the Epiphone John Lennon EJ-160E acoustic electric is just like John's famous J160E. Its Mahogany body gives great balanced tone from its Advanced Jumbo acoustic design and features a Solid Sitka Spruce top that will improve with age and play. This guitar is electrified with a unique EJ-160E Mini-Humbucker that sounds amazing. A portion of the proceeds will be donated to the BMI Foundation for the John Lennon Music Scholarship fund, which supports music education.

Gibsons Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal.Named after Lester William Polsfuss, aka Les Paul legendary American jazz guitarist, and true pioneer in the development of recorded music the Les Paul model guitar became the Standard in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitars traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standards maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which had been declining since 1953 when the Gibson shipped 2,245 Les Paul Model guitars.HistoryGibsons Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal.Named after Lester William Polsfuss, aka Les Paul legendary American jazz guitarist, and true pioneer in the development of recorded music the Les Paul model guitar became the Standard in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitars traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standards maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which ha...

Gibson's Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal. The most highly acclaimed, widely recognized solid body electric guitar in the entire world. History Gibson's legendary Burstbucker pickups and Tune-o-matic bridge. 22-fret rosewood fingerboard outfitted with acrylic trapezoid inlays matching the size of color of the originals. Named after Lester William Polsfuss, aka Les Paul--legendary American jazz guitarist, and true pioneer in the development of recorded music--the Les Paul model guitar became the "Standard" in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitar's traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standard's maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which had been declining since 1953 when the Gibson shipped 2,245 Les Paul Model guitars. Unfortunately, sales of the new Les Paul Standard continued to dip, and after shipping only 643 guitars in 1959 and another 635 during the early part of 1960, Gibson once again instituted another redesign of the guitar, abandoning the Les Paul design as we know it today and creating the SG Standard. No one could have imagined, however, that those 1,278 Les Paul Standard guitars--especially the 643 from 1959--would become the most sought after guitars in the world. Body While the full impact of the 1959 Les Paul Standard was still several years away from being realized, its influence on guitar design was already well underway. Besides its exceptional tone and playability, the 1959 version of the Les Paul Standard was renowned for its two "bookmatched" pieces of maple wood that made up the top of the guitar. While most of the Les Paul Standard tops in 1958 were considered "plain," some of the maple tops in 1959--and into 1960--were "flamed" or "figured," adding a three-dimensional, cosmetic element never before seen on any solid body guitar. The beautiful patterns, however, went largely unnoticed at the time, with Gibson paying no particular attention to selecting wood with distinct grain patterns. Other cosmetic changes on the 1959 Les Paul Standard included a slightly thinner neck profile, a smaller heel, and a change to larger "jumbo"-sized frets, which are still in use today. Finish The guitar's new Cherry Sunburst finish also saw its first full year of use in 1959, despite problems with the consistency of the red pigment used to paint it--a problem that wasn't corrected until late 1960. This caused the finish on many guitars to fade to some degree of amber, honey or yellow hue, further adding to the beauty and mystique of the instrument. Famous Players One of the first guitarists to recognize the potential of the 1959 Les Paul Standard was The Rolling Stones' Keith Richards, who obtained a 1959 model in 1964 that had been outfitted with a Bigsby tremolo tailpiece. Around 1966, emerging British guitarist Eric Clapton--himself influenced by the early 1950s Les Paul models played by Freddie King and Hubert Sumlin--also recognized the Les Paul Standard's exceptional tone and playability, and began playing them almost exclusively. Before long, the Les Paul Standards of the late 1950s had found their way into the hands of future guitar legends Jimmy Page, Jeff Beck, Duane Allman, Peter Green and Michael Bloomfield, among others, eventually helping to reshape the sound of a worldwide musical movement, while forever changing the standard by which all other electric guitars are measured. Near-perfect Recreation The 1959 Les Paul Standard reissue produced today by Gibson Custom is true to all of the original instrument's features and characteristics, including Gibson's traditional hand-carved "figured" maple top and solid, non-weight relieved mahogany body. The headstock is made from Holly head veneer, as opposed to fiber, just like it was in 1959, and the vintage-style tulip tuners are mounted in a straight line, also as they were on the original. The 24 3/4-inch scale length neck is made from one solid piece of mahogany, and attached to the body using a long neck tenon--one of the Les Paul's more distinguishing characteristics of the 1950s. The neck is topped by a 22-fret rosewood fingerboard outfitted with acrylic trapezoid inlays matching the size and color of the originals. Of course, two of Gibson's legendary Burstbucker pickups deliver all the subtle variations of true, classic "Patent Applied For" humbucker tone by using historically "unmatched" bobbin windings and Alnico II magnets. Other historical appointments include CTS potentiometers, bumble bee capacitors, rolled creme-colored fingerboard binding, single-ply creme-colored binding around the body, and a period-correct thin toggleswitch washer and jackplate. The 1959 Les Paul Standard comes in either a V.O.S. or Gloss finish, and with the standard Gibson Custom case, custom care kit and certificate of authenticity. They are available in Faded Tobacco Burst, Washed Cherry Burst and Iced Tea Burst.

Gibsons Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal.Named after Lester William Polsfuss, aka Les Paul legendary American jazz guitarist, and true pioneer in the development of recorded music the Les Paul model guitar became the Standard in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitars traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standards maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which had been declining since 1953 when the Gibson shipped 2,245 Les Paul Model guitars.HistoryGibsons Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal.Named after Lester William Polsfuss, aka Les Paul legendary American jazz guitarist, and true pioneer in the development of recorded music the Les Paul model guitar became the Standard in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitars traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standards maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which ha...

Gibson's Les Paul Standard model from 1959 is the most highly acclaimed, widely recognized solid body electric guitar in the entire world, coveted by both players and collectors as the ultimate example of playability, attractiveness and tone among all six-stringed instruments. In an industry filled with imitations and replicas, the iconic 1959 Les Paul Standard simply has no equal. The most highly acclaimed, widely recognized solid body electric guitar in the entire world. History Gibson's legendary Burstbucker pickups and Tune-o-matic bridge. 22-fret rosewood fingerboard outfitted with acrylic trapezoid inlays matching the size of color of the originals. Named after Lester William Polsfuss, aka Les Paul--legendary American jazz guitarist, and true pioneer in the development of recorded music--the Les Paul model guitar became the "Standard" in July 1958 after company president Ted McCarty and his staff decided to add the new designation and forego the guitar's traditional Goldtop finish for a new, brighter finish dubbed Cherry Sunburst, which allowed the natural beauty of the Les Paul Standard's maple top to be showcased. The company was hoping the changes would improve its sales of solid body electric guitars, which had been declining since 1953 when the Gibson shipped 2,245 Les Paul Model guitars. Unfortunately, sales of the new Les Paul Standard continued to dip, and after shipping only 643 guitars in 1959 and another 635 during the early part of 1960, Gibson once again instituted another redesign of the guitar, abandoning the Les Paul design as we know it today and creating the SG Standard. No one could have imagined, however, that those 1,278 Les Paul Standard guitars--especially the 643 from 1959--would become the most sought after guitars in the world. Body While the full impact of the 1959 Les Paul Standard was still several years away from being realized, its influence on guitar design was already well underway. Besides its exceptional tone and playability, the 1959 version of the Les Paul Standard was renowned for its two "bookmatched" pieces of maple wood that made up the top of the guitar. While most of the Les Paul Standard tops in 1958 were considered "plain," some of the maple tops in 1959--and into 1960--were "flamed" or "figured," adding a three-dimensional, cosmetic element never before seen on any solid body guitar. The beautiful patterns, however, went largely unnoticed at the time, with Gibson paying no particular attention to selecting wood with distinct grain patterns. Other cosmetic changes on the 1959 Les Paul Standard included a slightly thinner neck profile, a smaller heel, and a change to larger "jumbo"-sized frets, which are still in use today. Finish The guitar's new Cherry Sunburst finish also saw its first full year of use in 1959, despite problems with the consistency of the red pigment used to paint it--a problem that wasn't corrected until late 1960. This caused the finish on many guitars to fade to some degree of amber, honey or yellow hue, further adding to the beauty and mystique of the instrument. Famous Players One of the first guitarists to recognize the potential of the 1959 Les Paul Standard was The Rolling Stones' Keith Richards, who obtained a 1959 model in 1964 that had been outfitted with a Bigsby tremolo tailpiece. Around 1966, emerging British guitarist Eric Clapton--himself influenced by the early 1950s Les Paul models played by Freddie King and Hubert Sumlin--also recognized the Les Paul Standard's exceptional tone and playability, and began playing them almost exclusively. Before long, the Les Paul Standards of the late 1950s had found their way into the hands of future guitar legends Jimmy Page, Jeff Beck, Duane Allman, Peter Green and Michael Bloomfield, among others, eventually helping to reshape the sound of a worldwide musical movement, while forever changing the standard by which all other electric guitars are measured. Near-perfect Recreation The 1959 Les Paul Standard reissue produced today by Gibson Custom is true to all of the original instrument's features and characteristics, including Gibson's traditional hand-carved "figured" maple top and solid, non-weight relieved mahogany body. The headstock is made from Holly head veneer, as opposed to fiber, just like it was in 1959, and the vintage-style tulip tuners are mounted in a straight line, also as they were on the original. The 24 3/4-inch scale length neck is made from one solid piece of mahogany, and attached to the body using a long neck tenon--one of the Les Paul's more distinguishing characteristics of the 1950s. The neck is topped by a 22-fret rosewood fingerboard outfitted with acrylic trapezoid inlays matching the size and color of the originals. Of course, two of Gibson's legendary Burstbucker pickups deliver all the subtle variations of true, classic "Patent Applied For" humbucker tone by using historically "unmatched" bobbin windings and Alnico II magnets. Other historical appointments include CTS potentiometers, bumble bee capacitors, rolled creme-colored fingerboard binding, single-ply creme-colored binding around the body, and a period-correct thin toggleswitch washer and jackplate. The 1959 Les Paul Standard comes in either a V.O.S. or Gloss finish, and with the standard Gibson Custom case, custom care kit and certificate of authenticity. They are available in Faded Tobacco Burst, Washed Cherry Burst and Iced Tea Burst.

In 2002, Arlo Guthrie contacted the luthiers at Gibson Acoustics and asked for help in reconstructing a guitar his legendary father—Woody Guthrie—had given him as a present in the early 1950s. The 3/4-sized guitar was an old Gibson LG-2 that was literally in pieces, yet Gibson decided to undertake the delicate task of restoring the beloved instrument. Several months later, after completing the restoration and presenting the rebuilt acoustic guitar to Arlo, Gibson decided to reissue the Arlo Guthrie LG-2 guitar as part of its Signature Series line of acoustics. It is a painstaking reproduction of a classic Gibson guitar, yet remaining true to Arlo's original in every way including a vintage replica finish. Nickel Gotoh White Button Tuners The Gibson Arlo Guthrie LG-2 features Gotoh's SD91 white button tuners. With a gear ratio of 15:1, the Gotoh's deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability. Pickguard The tortoise pickguard on the Gibson Arlo Guthrie LG-2 is a small teardrop shape designed especially for the 3/4-size acoustic guitar. As with all Gibson's pickguards, the coloring, inlay, binding, and engraving are all done by hand. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the 3/4-sized Arlo Guthrie LG-2 is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the acoustic guitar. Rosewood Fingerboard with Rolled Edges and Dot Inlays The fingerboard of Gibson's Arlo Guthrie LG-2 3/4 is constructed from the highest grade rosewood on earth, which is personally insp

The Story of the Gibson Arlo Guthrie LG-2 3/4-Sized Guitar In 2002, Arlo Guthrie contacted the brilliant luthiers at Gibson Acoustics and asked for help in reconstructing a guitar his legendary father--Woody Guthrie--had given him as a present in the early 1950s. The guitar was an old Gibson LG-2 3/4-sized guitar that was literally in pieces, yet Gibson decided to undertake the delicate task of restoring this instrument so dear to Arlo’s heart, and his father’s legacy. Several months later, after completing the restoration and presenting the rebuilt guitar to Arlo, Gibson decided to reissue the Arlo Guthrie LG-2 3/4-sized guitar as part of its Signature Series line of acoustics. It is a painstaking reproduction of a classic Gibson guitar, yet remaining true to Arlo's original in every way including an aged-like vintage replica finish. Rosewood Fingerboard with Rolled Edges and Dot InlaysThe fingerboard of Gibson's Arlo Guthrie LG-2 3/4-sized guitar is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson's team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The LG-2 3/4-sized guitar’s dot inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge--instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic's rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the Arlo Guthrie LG-2. Body Tonewoods (back, sides and top) The Arlo Guthrie LG-2 3/4-sized guitar is based on the body design of Gibson’s legendary L-00 small body. The top is made from AA-grade Sitka spruce, while the back and sides are constructed from Honduran mahogany, giving the Arlo Guthrie LG-2 3/4-sized a combination of tonewoods and features that produce a mellow, resonant instrument, capable of delivering a broad range of dynamics and bright, ringing tones. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with "the most durable, elastic, and sonorous qualities," and today's guitars from Gibson Acoustic are no different. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument’s sound projection. The body of the Arlo Guthrie LG-2 3/4-sized guitar is fitted with a historic ladder bracing pattern used on Gibson's early 19th century acoustics, capable of delivering a broad range of tight, balanced dynamics and bright, ringing tones, and faithfully producing the classic small-body Americana sound. Nickel Gotoh White Button TunersGibson's Arlo Guthrie LG-2 3/4-sized guitar features Gotoh's SD91 white button tuners. With a gear ratio of 15:1, the Gotoh's deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, and a special lubricant inside the gear box provides smooth and accurate tuning stability. Pickguard The tortoise pickguard on the Arlo Guthrie LG-2 3/4-sized guitar is a small teardrop shape designed especially for the 3/4-sized acoustic guitar. As with all Gibson's pickguards, the coloring, inlay, binding, and engraving are all done by hand. Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the Arlo Guthrie LG-2 3/4-sized guitar is a single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the Arlo Guthrie LG-2 3/4-sized guitar.