If you wanted to list the number of companies that have at least one model in their portfolio that was influenced by the Les Paul, you would really get an impressive list. The Swedish company Hagström, which originally comes from accordion building and has a similar model in its ranks with the Super Swede, should also be on this list. However, the model differs greatly in some details from one of the forefathers of the electric guitar, which is included in the following test of the Hagstrom Super Swede XSOP.
The construction of the Hagstrom Super Swede XSOP
Although at first glance the Hagstrom Super Swede For example, the instrument manufactured in China has the Dual Action H-Expander Trussrod, which is a kind of mini H-steel support that ensures extremely high stability of the neck as well as very good adjustment options and, on the other hand, the fingerboard is made of Resinator wood, a composite material. in which several thin layers of wood are glued together in a vacuum and which is said to be comparable to the resonance properties of the old Black Beauty ebony. Both structural elements are of course protected by trademark law and may only be used under license.
Another special feature are the two belt pins, which are located behind the tailpiece of the bridge construction. They can be used to better position a guitar strap that is used on two different instruments for individual use, as well as to place the instrument on the floor without scratching the instrument's paint. Theoretically, left-handed operation would also be made easier by the lower strap pin, but who would use a Les Paul as a left-handed person without the body being adjusted accordingly? The lack of a cutaway alone would destroy any practicality. Addendum: After consulting with Hagstrom product manager Thomas Türling at the Guitar Summit, my suspicions were confirmed that the two strap pins were actually designed to safely place the instrument on the floor.
When it comes to workmanship, you really have to give the instrument top marks. All painting work, inlay work and adjustment work were carried out excellently and give no cause for complaint. Otherwise, the Hagstrom Super Swede In contrast to the LP, however, Hagstrom places greater emphasis on ergonomic shaping of the body. There are additional recesses at the base of the neck, in the cutaway and on the back of the body, which greatly improves the playability of the instrument.
In addition to the XSOP (“Old Pale”) finish, a kind of cherry sunburst, in which the test instrument is available, the instrument is also available in the finishes Crimson Flame, Dark Storm and Fall Sky Gloss. The top of the body and the fingerboard were additionally bordered with ivory-colored binding.
In terms of weight, the Hagstrom Super Swede XSOP is relatively moderate at just under 3.6 kilograms and remains well below the weight that other Hagstrom instruments occasionally have. Ivoroid is once again used as fingerboard inlays between the 22 frets made of stainless steel, a plastic that looks like ivory and has a stripy “grain”. Visually indicated is the Hagstrom “Crest” coat of arms plus a Hagstrom lion on the 12th fret. With a neck thickness of 20 mm at the 1st fret and 21.5 mm at the 12th fret, a fingerboard radius of 14.4" and a nut width of 43 mm (GraphTech Black Tusq XL), the instrument moves within a moderate range and should be of Most players accept it without any problems.
In contrast to regular Swede, the Super Swede has another special feature when it comes to scale length. In contrast to the normal short scale length that all Les Paul-style guitars usually have, the Hagstrom Super Swede XSOP has a long scale length, which allows it to have a higher bass content and better presence reproduction. When it comes to hardware, the Swedes are also pursuing their own independent course on the Super Swede, with the Long Travel Tune-O-Matic Bridge in combination with the Sustain Block Tailpiece, in which each string has a solid brass block as a holder. The fluted 19:1 Gear Ratio Locking Machine Heads also offer a unique selling point in the tuner sector and have been an integral part of Hagstrom optics for some time.
The Hagstrom Swede Gold pickups
Once again, Hagström is relying on its very own solution when it comes to pickups. In contrast to many other players who work with the big US names in the industry or sometimes develop their own pickups, the Hagstrom Super Swede XSOP has a Lundgren Design AlNiCo-2 No. on the neck. 2 (Medium Output – Calibrated – 7.3K) humbucker and a Lundgren Design AlNiCo-2 No. on the bridge. 5 (High Output – Calibrated – 13.2K) humbuckers. Both humbuckers are splittable and enable single coil operation thanks to the push/pull function of the tone controls. Both pickups sit in frames that visually match the binding. The total of 4 pieces. Hagstrom “H” Barrel Knurled Brass Knobs (Chrome Plated) volume and tone controls are pleasantly stiff and allow for an even control path, with the volume controls having an R/C circuit.
The Hagstrom Super Swede XSOP is delivered in a high-quality case with a tweed look.
The Hagstrom Super Swede XSOP in practice
When you pick up the Hagstrom Super Swede XSOP for the first time, you immediately notice the extraordinary vibration behavior. The sustain of the instrument is outstanding across the entire fingerboard, whether the low bass sides or the treble sides in the upper registers, the instrument has very good vibration behavior, swings in and out quickly and impresses with a long-lasting tone without any dropouts. It appears that the combination of a solid bridge bracket plus the choice of wood and the solid construction are responsible for this floating behavior.
For the long-established Les Paul player there will most likely be two points that differ significantly from the forefather from the USA. On the one hand, the combination of Les Paul haptics with a long scale length is an unusual experience at first grip, although I intentionally do not want to give any judgment here, as the grip behavior can have an effect in one direction or the other depending on your preferences. Anyone coming from the Stratocaster will feel a little more at home here, while players coming from the short scale may pause for a moment here. Ultimately, I estimate that the instrument's excellent playability will provide a balance for both types of players.
The second point, which is rather unusual for the typical Les Paul player, is the consistently subtle but very effective shaping on the body. In particular, the area at the base of the neck and in the cutaway contribute enormously to making the instrument extremely easy to play, especially in the higher registers. The famous fighting at the base of the neck, which is familiar from the blunt transition of the Les Paul, is completely missing here and makes it much easier for the player to implement his musical ideas, especially in the high treble range. As expected, the instrument hangs well on the body thanks to the strap and can also be played very well while sitting due to its shape.
Once again I am impressed by the Lundgren Design pickups, which impress with an independent, yet round and pleasing tone. Despite the relatively strong differences in the winding with the AlNiCo-2 No. 2 (Medium Output – Calibrated – 7.3K) humbucker on the neck and the AlNiCo-5 No. 5 (High Output - Calibrated - 13.2K) Humbucker on the bridge The set doesn't fall apart in terms of sound is due to the tasteful combination of the pickups. The split circuit for a humbucker also proved to be convincing. Although the sound produced came out of the speakers a bit sharper and didn't quite achieve the balance of a pure single-coil pickup, it was still one of the best split sounds I've heard in a long time. In contrast, the humbucker circuit produces a significantly warmer and less treble-emphasized tone and delivers very good results, especially in the crunch range, which extend into the lead range. This is where the pickups can show off their true strengths, from precise riffs to tasteful leads. These types of pickups are less suitable for extreme high-gain metal because, due to individual peaks in the frequency response, they rely more on their own character and less on assertiveness with very high overtones.
The Hagstrom Super Swede XSOP is indeed a first-class rock guitar that can also perform well in blues or jazz. It offers an attractive alternative to traditional models and is characterized by high-quality craftsmanship details and excellent pickups. Anyone looking for an instrument that impresses in terms of versatility as well as precision craftsmanship and first-class pickup solutions will be well served with the Hagstrom Super Swede XSOP.
Conclusion
The Hagstrom Super Swede XSOP is a sonic showcase from the workshop of the renowned Swedish company. The instrument impresses not only with its first-class workmanship, but also with its successful fusion of tradition and innovation. Their sound, although familiar in a certain way, is still unique and is particularly convincing in the areas of clean, crunch and lead.
For those looking for a classic sound that doesn't come from the United States, the Hagstrom Super Swede XSOP is definitely worth a thorough test.
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Additional Informations:
The World of Gibson Les Paul Guitar Copies: Exploring the Replicas
Introduction:
The Gibson Les Paul is an iconic electric guitar that has left an indelible mark on the world of music since its introduction in the early 1950s. Renowned for its rich tone, versatile sound, and timeless design, the Les Paul has become a symbol of excellence and innovation in the realm of electric guitars. However, alongside the original Les Pauls produced by Gibson, a thriving market of replicas and copies has emerged, offering musicians an alternative to the coveted vintage and modern Les Paul models. This article delves into the fascinating world of Gibson Les Paul guitar copies, exploring their history, craftsmanship, and impact on the music industry.
The Origins of Les Paul Copies:
The proliferation of Les Paul copies can be traced back to the 1960s and 1970s when guitar manufacturers in Japan and other countries began producing replicas of popular American electric guitars. Inspired by the success of brands like Gibson, Japanese companies such as Tokai, Greco, and Burny sought to capitalize on the demand for high-quality electric guitars at more affordable price points.
These early Les Paul copies sought to emulate the design, construction, and sound of the original Gibson models, often using similar materials and manufacturing techniques. While some were intended as budget-friendly alternatives for aspiring musicians, others aimed to replicate the premium feel and performance of the genuine Les Pauls.
Craftsmanship and Quality:
Over the years, the craftsmanship and quality of Les Paul copies have evolved, with many manufacturers refining their techniques and incorporating modern innovations. Today, guitar builders around the world produce Les Paul replicas that rival the craftsmanship of their American counterparts, offering musicians a wide range of options to suit their preferences and budgets.
High-end Les Paul copies often feature premium materials such as mahogany bodies, maple tops, and rosewood fingerboards, meticulously crafted to replicate the look and feel of vintage Gibson instruments. Attention to detail, including accurate neck profiles, fretwork, and hardware, is paramount in achieving the authentic Les Paul experience.
In addition to faithful reproductions, some guitar builders offer customized and modified Les Paul copies, allowing players to tailor their instruments to their individual tastes. Whether it's custom pickups, hardware upgrades, or unique finishes, these bespoke replicas offer a personalized touch while retaining the classic Les Paul sound and aesthetic.
The Impact on the Music Industry:
The availability of high-quality Les Paul copies has had a significant impact on the music industry, democratizing access to iconic guitar tones and designs. While purists may argue for the superiority of genuine Gibson Les Pauls, many musicians have found inspiration and satisfaction in playing well-crafted replicas that offer comparable performance at a fraction of the cost.
Les Paul copies have also played a role in shaping musical genres and styles, contributing to the sonic landscapes of rock, blues, jazz, and beyond. Countless artists, from amateur enthusiasts to professional performers, have embraced Les Paul replicas as versatile tools for creative expression, fueling innovation and pushing the boundaries of guitar playing.
Furthermore, the availability of Les Paul copies has fostered a vibrant community of guitar enthusiasts, collectors, and modders who share a passion for these iconic instruments. Online forums, social media groups, and dedicated events provide platforms for enthusiasts to connect, share knowledge, and showcase their prized replicas, further enriching the culture surrounding the Gibson Les Paul.
Conclusion:
The world of Gibson Les Paul guitar copies is a testament to the enduring legacy and influence of this iconic instrument. From humble beginnings as budget-friendly alternatives to premium originals, Les Paul replicas have evolved into finely crafted instruments that stand on their own merits. Whether faithfully reproducing vintage classics or offering customized creations, these replicas continue to inspire musicians and shape the sonic landscape of modern music. As the demand for high-quality electric guitars persists, the legacy of the Gibson Les Paul lives on through a diverse array of replicas that pay homage to its timeless design, legendary sound, and unparalleled craftsmanship.
Montag, 22. April 2024
TEST: Hagström Super Swede
TEST: Hagström F 200
Guitarists are a very unique breed of musicians. In terms of their pronounced ego, they are always very much there at the core of the undisputed self-presentation leader “singer”. The six-string faction can be roughly divided into two layers in terms of their behavior towards their instrument.
Layer number one loves the detailed and sophisticated, in terms of fine wood structure that comes close to a living room table, multiple bindings, elaborate detail solutions and fingerboard inlays made of abalone until the doctor comes in the style of a PRS or a custom shop special order. Shift number two prefers the robust tool, with simple functionality without any frills, the screwdriver in the toolbox, inconspicuous but essential. Instruments such as the Tele, the Juniors from Gibson or the unspectacular SG can be mentioned here as a reference.
The F 200 from Hagstrom falls into this category. A typical “board guitar”, as the Solidbodies were called in a slightly disrespectful manner in the early 1950s before their resounding success. In the tradition of the working man tool, the simple exterior suggests an all-rounder in the pop-rock sector. Let us surprise.
Construction:
Well, it's obvious who was the inspiration for this instrument, especially since the version I have of the F 200 is also delivered in the classic cherry red, known internally as "Transparent Cherry". Even if the body shape varies a little, the classic SG horns immediately draw a parallel to the USA classic. But hey, don't forget, Hagstrom has also been on the market with slight breaks since 1958, so the Swedish company can undoubtedly be counted among the “startups” of the solid body guitar.
Neck, body, headstock, mahogany as far as the eye can see and completely covered in a polyester finish. The almost 4 cm thick two-part body is sanded at the edges and has been veneered with a continuous piece of mahogany on the top and bottom sides. It is remarkable how a slight contouring of the body improves the overall playing comfort. When the milling is tight, the right forearm always feels like it's resting against the edge of a door. Les Paul players know what I'm talking about. And no matter how much the paint may be worn down, the wood and the edge remain! ;-)
The headstock has always been something special on all Hagstrom guitars, a tradition that continues seamlessly with the F 200. The slightly backwards angled, tapered headstock has the slightly sweeping, characteristic shape that is common to all Hagstroms. Painted black and framed with pearloid (or perhaps mother of pearl....), it looks very decorative and stands out clearly from the otherwise very simple layout. In addition, a stylized lily was inserted between the tuning mechanisms. Six mechanics, which follow the outer edge of the headstock, form another visual peculiarity of the Hagstrom guitars. The tuning pegs appear in three superimposed waves, which run in a ratio of 18:1.
A small plastic cap covers the entrance to an in-house patent, the H-Trussrod, a special neck adjustment rod, which, due to its shape, is said to have higher torsional stiffness than the classic round rod.
The scale length is specified as 24.74 inches and with the resulting 62.83 cm it is to be understood as a classic shortscale guitar in the spirit of the Gibson tradition. Another special feature is the fingerboard of the guitar. Misinterpreted by many as Ebony due to its coloring and general visual appearance, it is an in-house invention, the Resinator fingerboard. These are several wooden sheets glued together under vacuum, which have good vibration behavior and are intended to minimize dead spots. Dots were used as fingerboard markings, and a variant with medium height and width was used as fret wire.
Der Sattel ist aus selbst-schmierendem Grafit gefertigt und minimiert so die Reibung der einzelnen Saiten. Die Brücke der F 200 ist mit sechs einzeln verstellbaren Reitern versehen und mittels zwei Schlitzschrauben in Höhe und Neigungswinkel einstellbar. Etwas ungewöhnlich ist das so genannte Block Stop Tailpiece, welches die Saiten in zwei versetzten Dreierreihen zur Brücke leitet. Dieses Tailpiece liegt nochmals auf einem Plexiglas Aufsatz auf, welcher zusammen mit einer relativ großen Chromabdeckung mittels zweier Schrauben auf der Decke der Gitarre verschraubt ist. Eine eher ungewöhnliche Detaillösung, jedoch könnte die somit deutlich größere Auflagefläche zu einer Erhöhung des Sustainverhaltens beitragen.
Als Tonabnehmer kommen zwei Custom 60 Alnico 5 zum Einsatz, welche einen etwas höheren Output und einen stärkeren Höhenanteil als der Custom 58 aufweisen. Beide Tonabnehmer sitzen in schwarzen Rähmchen und sind mit je einer Schraube pro Seite justierbar. Die Ausgangsbuchse ist wohl das einzige Merkmal was an ein Fender-typische Trademark erinnert, handelt es sich doch hierbei um die versenkte Ausführung, welche bei der Stratocaster zu Weltruhm gelangte. Ein Mastervolume- und ein Mastertonregler zuzüglich eines Dreiwegschalters runden das Gesamtbild des Instrumentes ab.
Praxis:
Was einem zunächst in die Augen, respektive Hände beim Erstkontakt fällt ist der ungewöhnlich stark D-förmige Hals des Instrumentes. Gegenüber dem erwarteten SG Ansatz fährt die F 200 eine völlig eigenständige Schiene. Ich hatte ein eher traditionelles Shaping mit ausgeprägteren Schultern erwartet, statt dessen kommt die Schwedin mit recht modernem, geradezu kräftigem skandinavischem Handling daher. Sowohl das Akkordspiel als auch das Solospiel lässt sich auf diesem Hals problemlos realisieren. Respekt.
Das Zweite was nahezu alle Soundnuancen des Instrumentes unterstreicht ist das ausladende Sustain. Es hat wirklich den Anschein als ob die im Prospekt mehrfach erwähnte Hinführung zur Schwingungsoptimierung in Sachen Stegkonstruktion und Griffbrettherstellung ihren Sinn erfüllt haben. Jede Note hat einen gleichlauten Ansatz und verreckt nicht in einer konstruktionsbedingten Auslöschung. Alle Töne haben zudem für eine Pure-Mahagony Konstruktion eine unerwartet hohe perkussive Grundauslegung. Funkige Sechzehntel und perlige Pickings lassen sich trotz der mittenlastigen Mahagoni Konstruktion sehr gut umsetzen.
Unterstützt wird dies nochmals durch die Custom 60 Pickups, denen man tatsächlich eine gewisse Eigenständigkeit attestieren muss. So wussten die Spulen gerade im cleanen Bereich mit einem Hauch von mangelnder Wärme sehr zu überzeugen, auch im Crunch Bereich konnte die F 200 mit einem hohen Durchsetzungsvermögen punkten.
Lediglich im High-Gain wurde schnell klar dass diese Gitarre ein anderes Spektrum bedient. Trotz der sehr guten Sustain Eigenschaften blieb die Kompression des Tons nur im Mittelfeld, was aber wie gesagt kein Problem darstellt, da die Ausrichtung der Gitarre eine völlig andere ist. Mit einer Gretsch spielt ja auch kein Mensch Metal, oder?
Fazit:
Schau an, Hagstrom gelingt es tatsächlich im der unendlichen Fülle des Marktes eine eigene Nische zu besetzen. Klanglich schafft es die F 200 einer klassischen Humbucker-Konstruktion einen Hauch von „Single-Coil“ zu spendieren, noch dazu zu einem sehr moderaten Preis. Lasst euch nicht von der unscheinbaren Roten in der Ecke täuschen, optisch mag es für den Einen oder Anderen exaltierten Heatseeker an Esprit fehlen, akustisch weiß der Schwedenhappen aber als Allrounder für Pop, Rock und Blues durchaus zu überzeugen.
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Additional Informations:
Introduction:
Hagstrom Guitars holds a unique position in the pantheon of musical instrument manufacturers, with a rich history steeped in innovation, craftsmanship, and a commitment to quality. From its humble beginnings in Sweden to its global acclaim, the story of Hagstrom guitars is a testament to the enduring legacy of creativity and passion in the world of music. This article delves into the fascinating journey of Hagstrom Guitars, tracing its origins, milestones, and contributions to the realm of musical instruments.
Early Beginnings:
The roots of Hagstrom Guitars can be traced back to the 1920s when Albin Hagström Sr., a Swedish accordion importer and manufacturer, recognized the growing popularity of guitars in the burgeoning music scene. In 1925, Hagström established the Hagström company in Älvdalen, Sweden, initially focusing on the production of accordions and other fretted instruments.
Expansion into Guitars:
In the years that followed, Hagstrom expanded its product line to include guitars, leveraging its expertise in instrument manufacturing and a keen understanding of market trends. The company's early guitar models reflected a blend of traditional craftsmanship and innovative design, earning praise for their quality and playability.
However, it was not until the 1950s that Hagstrom guitars gained widespread recognition, fueled by the rise of rock 'n' roll and the burgeoning demand for electric guitars. Hagstrom capitalized on this trend by introducing a range of electric guitars that combined sleek aesthetics with cutting-edge technology, setting the stage for its ascent in the global music industry.
Innovation and Distinctive Features:
One of the hallmarks of Hagstrom guitars was their innovative design features, which set them apart from their competitors. One notable innovation was the incorporation of a patented "Hagstroms Resinator" fretboard, made from a composite material that offered enhanced sustain, stability, and tonal clarity. This unique fretboard material became synonymous with Hagstrom guitars and contributed to their distinctive sound and feel.
Additionally, Hagstrom guitars featured ergonomic body shapes, slim neck profiles, and high-quality hardware, all designed to enhance playability and comfort for musicians. These innovations made Hagstrom guitars highly sought after by professional players and enthusiasts alike, cementing the brand's reputation for excellence.
Endorsements and Global Expansion:
Throughout the 1960s and 1970s, Hagstrom guitars gained popularity among renowned musicians, who appreciated their superior craftsmanship and versatility. Iconic artists such as Elvis Presley, Frank Zappa, and David Bowie were among the many who embraced Hagstrom guitars, showcasing their capabilities on stage and in the studio.
Buoyed by endorsements from prominent artists and a reputation for quality, Hagstrom guitars experienced a period of rapid global expansion. The company's instruments found favor among musicians in Europe, the United States, and beyond, solidifying its status as a leading player in the international guitar market.
Challenges and Revival:
Like many musical instrument manufacturers, Hagstrom faced challenges in the face of shifting market dynamics and economic pressures. In the late 1970s, the company ceased production due to financial difficulties, marking a temporary halt to its storied legacy.
However, the Hagstrom brand experienced a revival in the early 2000s, thanks to a group of dedicated enthusiasts and investors who sought to reignite its flame. Led by Swedish entrepreneur Per-Åke Olsson, the reinvigorated Hagstrom company resumed production of guitars, drawing inspiration from its rich heritage while embracing modern manufacturing techniques.
The relaunched Hagstrom guitars retained the essence of their predecessors while incorporating contemporary features and improvements. With a renewed focus on quality control, innovation, and customer satisfaction, the revived Hagstrom brand once again captured the attention of musicians worldwide, reaffirming its place in the annals of musical instrument history.
Legacy and Continued Innovation:
Today, Hagstrom Guitars stands as a testament to the enduring legacy of Swedish craftsmanship and innovation. The company's commitment to quality, playability, and sonic excellence continues to resonate with musicians of all genres, from seasoned professionals to aspiring artists.
With a diverse lineup of electric and acoustic guitars, basses, and amplifiers, Hagstrom remains at the forefront of musical instrument design and manufacturing. Its dedication to pushing the boundaries of creativity and technology ensures that each Hagstrom instrument upholds the brand's legacy of excellence while inspiring the next generation of musicians.
Conclusion:
The story of Hagstrom Guitars is one of resilience, ingenuity, and a deep passion for music. From its humble beginnings in Sweden to its global prominence, Hagstrom has remained a beacon of innovation and craftsmanship in the world of musical instruments. As the journey of Hagstrom guitars continues, one thing remains certain: the brand's commitment to quality, innovation, and musical excellence will continue to shape the sounds of generations to come.
TEST: Gretsch G5422 TDC
At the beginning of the test, we'll have a little fun and see how strongly our association skills are calibrated to certain products, especially if it's an artificial expression. Complete? TWANG! Oh, did I hear individual voices proclaiming the word Telecaster? True, the Tele is also often included in the orbit of the strange-looking expression, but the top dog, or namesake, is undoubtedly the Gretsch company with its extensive range of fully acoustic and semi-acoustic electric guitars.
Now, what does Twäng mean? Completely different writers have already put their weapons down when it comes to putting into words a sound impression that is specifically shaped by the electric guitar. Only this much is certain: it is an undistorted sound, which works quickly in response without much sustain and with a characteristic midrange component.
Such instruments are very popular in the traditionally undistorted guitar sector, such as the many varieties of country or the large field of rockabilly. It's not for nothing that you find tons of Gretsch protagonists such as Chet Atkins or Brian Setzer in these musical segments. Anyone who comes to me with Malcolm Young from AC/DC should listen to the really subtle crunch on the Australians' studio albums.
In order to offer a price counterpoint to the high-price segment of the US-based company, which was founded by the German emigrant Friederich Gretsch, the company, which now belongs to the Fender Group, is relying on “Made In Korea” with the G5422TDCWS model. A little typology, “T” stands for tremolo (even if it should be “V” for vibrato), “DC” for double cutaway, “WS” for the color Walnut Stain.
construction
In contrast to the Gretsch models of the first hour, a double cutaway shape was chosen for the model mentioned above. This also generates a depth of only 57 millimeters in the hollow body, thus ensuring more comfortable handling than the full resonance models. The body wood used is linden, which is rarely used, while a maple neck with a rosewood fingerboard is a familiar choice. When it comes to scale length, Gretsch relies on the short Gibson version, meaning 62.2 centimeters.
The entire look exudes a massive vintage flair, from the framed F-holes to the double-sided binding on the body to the pearloid hump block fingerboard inlays. In order to support the acoustic character of the instrument, the bridge is only held in position by the pressure of the strings. You really need to be careful with a hard touch and thin strings, as it's all too easy to knock the bridge out of its sweet spot and ruin the intonation or playability. In my opinion, you should not put anything less than a 011 set on this instrument; 012 or the very heavy 013 ropes are welcome.
The open tuning mechanisms also seem to have been taken from an acoustic guitar, but this does not detract from their perfect mobility and precise handling. A frosted glass-like scratchboard and a licensed Bigsby Licensed B60 Vibrato also support the targeted clientele. When it comes to soft, wavering chord vibrati, the Bigsby is still the first choice; heavy dive bombs are only met with an out-of-control tuning and strings that break quickly due to the bridge construction. The guitar also has the classic control technology, which means 2 x volume, 1 x master volume, 1 x master tone.
There was something else there. What was the overarching trademark of Gretsch guitars, the ultimate epitome of the Twäng sound? Experts have long known what's coming, these are the legendary Filter Tron pickups developed by Ray Butts in 1954, here in the Black Top version. No Gretsch sound without Filter Tron pickups, it's that simple. The first double-coil pickup of its time is characterized by a hollow, throaty sound, which, in combination with the appropriate full-tube amp in the style of a Fender Bassman, Vibrolux or similar, creates the ultimate crunch gets a clean sound.
Do you want powerful crunch, possibly high-gain leads and standing artificial harmonics? Please change the guitar immediately! Do you want one of the most famous clean sounds in the world and lots of fifties and sixties esprit? You are right here!
Practice
When you pick up the guitar for the first time, you will notice how light the guitar is, as expected. Not that anyone would have expected a 5 kilo punch in the style of an eighties Les Paul, but the basswood body allows the weight to go down even further. Even if the maple neck comes into play slightly cheekily due to the weight distribution, the guitar still hangs well balanced on the strap. Despite the bridge being fixed solely by string pressure, it is astonishing how much sustain the instrument has.
The volume that the instrument produces without amplifying due to the hollow body is easily enough to complete daily finger exercises and still feel the resonance of the tone being played. The sound is crisp, quick to respond and even in unplugged mode it has the famous twang that brings tears of joy to the eyes of real disciples. The neck dimensions are practical and have the necessary dimensions without appearing bulky. There are no points of criticism when it comes to workmanship, although details that were worked on by hand, such as the edges of the F-holes, reveal slight unevenness. However, these are so small that they can be ignored and they have no influence on the sound.
Well, and on the amplifier the instrument shines with exactly the virtues that you can expect from this guitar. Wonderfully crisp, undistorted sounds with soft highs, thinned out basses and the characteristic high midrange that make up the sound of the instrument. It's nice to hear how the consistently hollow sound of the guitar penetrates the band structure perfectly even at low volumes and never lets you forget which instrument is currently in use.
Conclusion
Twäng as Twäng can, no matter how English this crude sentence structure may seem, it sums up the great flagship of the Gretsch G5422TDC. Even if everyone who has looked more closely into the history of guitars knows about this sound creation, it is still an experience again and again how characteristic the sound of the instruments from Gretsch forms its own niche.
The instrument is virtually predestined for everything that requires a crisp, undistorted attack and will become a pillar in the large area of country, western and rockabilly. It's also nice that Gretsch was able to transfer the most important trademarks from US production to the Asian area and bring a high-quality instrument with lots of twang to the market for a street price below the €800 mark.
A successful variation at an interesting price!
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Additional Informations:
Title: The Rich History of Gretsch Guitars: From Humble Beginnings to Iconic Legacy
Introduction:
Gretsch Guitars stands as a cornerstone in the realm of musical instruments, renowned for its distinctive sound, impeccable craftsmanship, and timeless design. The journey of Gretsch guitars traces back over a century, marked by a blend of innovation, perseverance, and a commitment to excellence. From its modest origins in Brooklyn, New York, to its global prominence, the story of Gretsch Guitars is a testament to the enduring power of creativity and passion in the world of music.
Early Beginnings:
The Gretsch story began in 1883 when Friedrich Gretsch, a German immigrant, founded a small musical instrument shop in Brooklyn. Initially, the company focused on manufacturing banjos, drums, and tambourines, catering to the burgeoning musical scene in New York City. Friedrich's dedication to quality and innovation soon earned Gretsch a reputation for excellence, laying the foundation for future success.
Expansion and Innovation:
Fred W. Gretsch, the great-grandson of Gretsch's founder, Friedrich Gretsch, played a pivotal role in revitalizing the brand during the 1980s. Born into the Gretsch family legacy, Fred's upbringing instilled in him a deep appreciation for the company's heritage and a commitment to preserving its legacy of excellence in musical instrument craftsmanship.
Fred W. Gretsch took the reins of the company during a challenging period marked by shifting market dynamics and changes in ownership. However, he approached these challenges with a vision to honor Gretsch's storied past while embracing the opportunities of the future. Under his leadership, Gretsch underwent a revitalization that saw the reintroduction of classic models and a renewed focus on quality and innovation.
One of Fred W. Gretsch's notable contributions was his dedication to fostering partnerships with artists and musicians. Understanding the importance of collaboration in driving brand visibility and product innovation, he worked closely with renowned musicians to develop signature Gretsch guitar models that captured the essence of their unique styles and sound preferences.
Moreover, Fred W. Gretsch's commitment to quality control and craftsmanship ensured that each Gretsch instrument met the highest standards of excellence. By investing in modern manufacturing techniques while preserving traditional craftsmanship methods, he ensured that Gretsch guitars continued to deliver the exceptional tone, playability, and aesthetic appeal that musicians had come to expect.
Fred W. Gretsch's leadership not only restored Gretsch's prominence within the music industry but also strengthened its connection with musicians and enthusiasts worldwide. His unwavering dedication to the brand's heritage, coupled with a forward-thinking approach to innovation, laid the groundwork for Gretsch's continued success in the decades to come.
Today, Fred W. Gretsch remains actively involved in the company as a custodian of its legacy, overseeing its operations and preserving its heritage for future generations. His enduring commitment to Gretsch Guitars serves as a testament to the enduring values of passion, creativity, and excellence that have defined the brand since its inception.
However, it was the introduction of the Gretsch "Broadkaster" guitar in the 1940s that truly propelled the company to prominence. With its rich tone and elegant aesthetics, the Broadkaster became a favorite among musicians across various genres, solidifying Gretsch's reputation as a premier guitar manufacturer.
The Rock 'n' Roll Era:
The 1950s witnessed the rise of rock 'n' roll, and Gretsch guitars found favor among pioneering artists who embraced their distinctive sound and style. Iconic musicians such as Eddie Cochran, Duane Eddy, and Chet Atkins became synonymous with Gretsch guitars, contributing to their widespread popularity.
One of the most significant endorsements came from rock legend Eddie Cochran, who famously wielded a Gretsch 6120 model, affectionately known as the "Gretsch G brand." Cochran's electrifying performances and innovative playing techniques showcased the versatility and sonic capabilities of Gretsch guitars, inspiring countless musicians to follow suit.
The Golden Age of Gretsch:
The 1960s marked a golden age for Gretsch guitars, as they became the instrument of choice for an array of legendary musicians. From George Harrison of The Beatles, who famously used a Gretsch Duo Jet on the band's early recordings, to rockabilly pioneer Brian Setzer, whose high-octane performances with the Stray Cats propelled Gretsch guitars to new heights of popularity.
During this period, Gretsch introduced several iconic models, including the White Falcon, Country Gentleman, and Jet Firebird, each adorned with ornate finishes and innovative features. These guitars not only captivated audiences with their visual appeal but also delivered unparalleled tone and playability, cementing Gretsch's status as an industry leader.
Challenges and Resurgence:
Despite its success, Gretsch faced challenges in the following decades, including changes in ownership and shifts in musical trends. However, the brand's legacy endured thanks to a dedicated community of musicians and collectors who cherished Gretsch guitars for their timeless appeal and unparalleled craftsmanship.
In the 1980s, Gretsch experienced a resurgence under the ownership of Fred W. Gretsch, great-grandson of the company's founder. Fred W. Gretsch revitalized the brand, reintroducing classic models and collaborating with artists to create signature instruments that honored Gretsch's heritage while embracing modern innovation.
Today and Beyond:
In the 21st century, Gretsch guitars continue to inspire musicians around the world, from seasoned professionals to aspiring artists. The company's commitment to quality, craftsmanship, and innovation remains unwavering, ensuring that each Gretsch guitar upholds the legacy of excellence established over a century ago.
With an ever-expanding lineup of instruments, including electric guitars, acoustic guitars, and drums, Gretsch continues to push the boundaries of creativity while staying true to its roots. Whether on stage, in the studio, or in the hands of collectors, Gretsch guitars stand as enduring symbols of musical craftsmanship and passion, embodying the spirit of innovation that has defined the brand since its inception.
Conclusion:
The story of Gretsch guitars is one of perseverance, innovation, and a deep passion for music. From its humble beginnings in Brooklyn to its global acclaim, Gretsch has remained at the forefront of musical instrument manufacturing, shaping the sounds of generations and leaving an indelible mark on the world of music. As the journey of Gretsch guitars continues, one thing remains certain: the timeless appeal and enduring legacy of these iconic instruments will continue to resonate with musicians and music lovers for years to come.
Samstag, 20. April 2024
TEST: GAP Pre-73 MK III
There are truly only a few names in studio technology where even the biggest critic can be carried away to an introspective “Aaah” because of the sound technical directions. Even if the names may vary depending on prioritization, everyone probably has the name “Neve” on the list. As the “father of the console”, Rupert Neve has left too many marks for every sound engineer not to be proud to show a product from the Neve stable to their customers and colleagues as part of their studio equipment.
But as always when it comes to legends, two hearts beat in the chest of the economically minded studio operator. The corresponding names also want to be compensated with corresponding euros, although both in a new purchase and on the vintage market, the prices for even the smallest preamps can easily be increased to an ambitious four-digit amount. Even though almost all Neve products live up to their legendary status in terms of sound, even with the current products, everyone has to ask themselves personally whether it makes financial sense to purchase a product in the hobby or semi-professional sector, which, in terms of sound, would bring the expert to tears but the sales figures are unlikely to be boosted to such an extent that the purchase is economically viable.
Whenever thoughts of this kind haunt a technician, the copyist's hour comes. In this case it is the Swedish company Golden Age Project (GAP), which is preparing to copy the extremely successful original from the seventies with a copy of the legendary Neve 1073 that is almost identical in terms of circuitry, but not without incorporating a few interesting extensions. The preamp was named Golden Age Project Pre-73 MK III and, as the name suggests, is now in its third version. However, it was not possible to find out whether the product is also built in Sweden, despite the obligation to note this on the product or the sales box. Gosh …
construction
Normally I don't want to start the first test lines with a big minus point, but in this case I unfortunately have no other choice. Even if the guys/gals from the Golden Age Project sometimes have a friendly, quirky/indie attitude in both the layout of the products and the website, a desktop device with open screws around the housing without rubber feet or something similar is simply not possible! Not only does the product slip every time you plug in the cable as if we were on the ice rink, no, the screws will scratch your work surface in no time. With an MDF board this may be secondary, but my work surface is made of white piano lacquer. You can only avoid scratching by placing a DIN A4 sheet or something similar underneath, which in my opinion is out of the question. Four stick-on rubber feet cost less than a cent to produce, but that really can't be the problem.
Enough complaining, let's get to the pleasant aspects. The preamp comes in a pretty dark red and was flawlessly processed. I don't understand why the screws of the steel housing are not sunk on the front side as opposed to on all other sides. In terms of width, the product is just under half the 19 inch rack width, which means that installation, even with a 9.5 adapter, requires proper conversion work. Therefore, it is important to plan enough space on the worktop.
In order to better describe the development of the MK II model into the current MK III, here are the key points of the predecessor, which were adopted into the current version. The Pre-73 is a single-channel preamp whose entire circuit is built discretely without any ICs and works in Class A. The preamp receives power via a 24 V “wall wart”, which is included with the product.
On the front, the preamp shines with a very clear structure, the handling of which is almost self-explanatory. On the left is the power switch, whose activity is confirmed by a red operating LED. Right next to it is a 100 kOhm instrument input, which is activated via a “DI” switch and provides information about its switching status using a green LED. At the same time, the combination socket for microphone and line on the back is muted.
To the right is the switchable 48 V phantom power and a pressure switch labeled Low-Z, which switches the impedance for the microphone input from 300 to 1200 ohms. This change in impedance allows you to have a massive impact on the basic sound character of the microphone used. There is also a switchable phase inverter on the outside right of the front panel. 2 large rotary controls allow comprehensive level management, with the gain control in particular being particularly noticeable.
On the one hand, it manages line and microphone input together, with the level reaching up to 50 dB. From this value onwards, a second gain stage kicks in, allowing amplification of up to a respectable 80 dB. Owners of low-level ribbon microphones in particular will be happy to hear this. On the back there is also the connection socket for the power supply, the said combination socket for the microphone/line input, an insert socket for connecting additional peripherals and 2 outputs in TSR and XLR form.
As a further development of the MK II version, the MK III version has the following changes, most of which were adopted from the DLX version:
Tantalum capacitors in the signal path
a double booster (3 dB or 6 dB) at 30 kHz called AIR
a double high-pass filter
Practice
Everyone has to decide for themselves whether they can accept the concessions on the selling price in the form of, for example, the external power supply. The fact is, however, that for a price of less than 350 euros you get a massively built-in device that really comes very close to the Neve feeling.
In terms of sound, the product is well above the majority of audio interfaces that are still available in this area. Especially in the treble range, the Golden Age Project Pre-73 MK III manages to bring a fresh pinch into the frequency range that otherwise just sounds cheaply boosted. People used to say that “the amp sounds expensive” and what they meant was that little bit of clarity, which significantly increased the intelligibility and assertiveness of the vocals.
The midrange is very far forward, which means that you should look in the mix to see whether the vocals come across too hard. What requires additional attention on the vocals will please the instrumental section. Especially in the guitar and bass range, the mids are the linchpin for an official sound.
But to raise the preamp to the same level as the original at a tenth of the price would be a bit too much of a good thing. If the signal is enhanced in any way, it will not achieve the “silkyness” of the original. But let's be honest, did anyone really expect that? Shouldn't we rather rejoice in the fact that you can even get to the edge of the legend at this price?
Conclusion
With the Golden Age Project Pre-73 MK III, the Swedish sound company knows how to impress in many areas. For a comparatively very low selling price, the ambitious sound engineer can bring a touch of the British legend into his home recording studio without having to calm down his lovely wife screaming loudly in the apartment because of the selling price.
Due to the very good signal routing, a consistently discrete circuit design and high-quality input and output transformers, the preamp is well above the standard project studio standards.
At this price it's almost a must for a small budget.
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Additional Informations:
Introduction:
Rupert Neve is a name synonymous with excellence, innovation, and uncompromising quality in the world of audio engineering. As a pioneering figure whose contributions have shaped the landscape of professional audio for over half a century, Neve's legacy extends far beyond the confines of traditional engineering. From his groundbreaking designs in recording consoles and signal processing equipment to his enduring influence on modern music production, Rupert Neve remains a towering figure whose impact reverberates throughout the industry.
Early Life and Education:
Rupert Neve was born on July 31, 1926, in Newton Abbot, Devon, England. Raised in a family with a rich musical heritage, Neve's early exposure to music and technology would later fuel his passion for audio engineering. After serving in the British Army during World War II, Neve pursued his interest in electronics and studied at the University of Liverpool, where he honed his skills in engineering and physics.
Career Beginnings:
Neve's career in audio engineering began in the late 1940s when he founded his first company, CQ Audio. Specializing in the design and manufacturing of public address systems, Neve quickly gained a reputation for his innovative approach to sound reinforcement. His early experiments with audio equipment laid the groundwork for his future endeavors and set the stage for his groundbreaking contributions to the field.
In 1961, Neve established his eponymous company, Rupert Neve Designs (RND), with a focus on designing high-quality audio equipment for recording studios and broadcast facilities. It was during this period that Neve would create some of his most iconic designs, revolutionizing the way music was recorded and mixed.
Innovations in Recording Consoles:
One of Neve's most significant contributions to the field of audio engineering was his development of recording consoles that set new standards for sonic fidelity and versatility. Neve's consoles, such as the legendary Neve 80 Series, became the gold standard for recording studios around the world, prized for their pristine sound quality, robust construction, and intuitive layout.
The Neve 80 Series consoles, introduced in the 1970s, featured modular construction, allowing engineers to customize the console to suit their specific needs. With innovations such as the 1073 preamp/EQ module, renowned for its warm, musical sound, and the 2254 compressor/limiter, prized for its transparent dynamics control, Neve's consoles became indispensable tools for recording engineers seeking the highest level of audio fidelity.
Neve's consoles were not only revered for their technical excellence but also for their musicality and character. Engineers and producers prized the "Neve sound," characterized by its rich harmonic content, wide dynamic range, and musical response. Artists ranging from The Beatles to Pink Floyd to Nirvana sought out Neve consoles for their recordings, cementing their place in music history.
Signal Processing Innovations:
In addition to his groundbreaking work in recording consoles, Rupert Neve was also a pioneer in the field of signal processing, designing a wide range of outboard gear that became essential tools for audio professionals. From equalizers and compressors to microphone preamplifiers and reverb units, Neve's signal processing equipment offered unparalleled sonic performance and versatility.
One of Neve's most enduring contributions to signal processing was the development of the Neve 1073 preamplifier/EQ module. Launched in the early 1970s, the 1073 quickly became a studio staple, prized for its warm, punchy sound and musical EQ curves. Its transformer-coupled design and Class A amplification ensured optimal signal integrity and sonic purity, making it a favorite among recording engineers and musicians.
Neve's signal processing innovations extended beyond the studio realm, with the introduction of the Neve 2254 compressor/limiter. Renowned for its transparent dynamics control and musical response, the 2254 became a go-to choice for mixing and mastering engineers seeking precise control over dynamics and transient shaping.
Legacy and Influence:
Rupert Neve's impact on the world of audio engineering cannot be overstated. His innovative designs, meticulous craftsmanship, and unwavering commitment to sonic excellence have set the standard for generations of audio professionals. Neve's consoles and signal processing equipment continue to be revered as timeless classics, sought after by recording studios, broadcast facilities, and artists worldwide.
Beyond his technical achievements, Neve's legacy is also characterized by his passion for music and his dedication to serving the creative needs of artists. Throughout his career, Neve remained deeply engaged with the music community, collaborating with engineers, producers, and musicians to refine and enhance his designs. His intuitive understanding of the recording process and his ability to translate artistic vision into technological innovation have earned him the respect and admiration of his peers.
In recognition of his contributions to the field of audio engineering, Rupert Neve has received numerous awards and accolades, including a Technical Grammy Award in 1997 for his lifetime achievements. Despite his passing in 2021, Neve's legacy lives on through Rupert Neve Designs, which continues to uphold his standards of excellence and innovation in the pursuit of sonic perfection.
Conclusion:
Rupert Neve's impact on the world of audio engineering is nothing short of transformative. From his pioneering work in recording consoles to his innovations in signal processing, Neve's contributions have shaped the way music is recorded, mixed, and mastered. His uncompromising commitment to sonic excellence, coupled with his passion for music and technology, have earned him a place among the most revered figures in the history of audio engineering. As the industry continues to evolve, Rupert Neve's legacy remains a guiding light, inspiring future generations of engineers and musicians to push the boundaries of what is possible in sound.
TEST: Gibson SG Standard 2015
Yes, she is one of the “Big Six”! “Big Six, what does that mean again?” That means, take a look at your personal guitar at home. 99.9% of the time it will be more or less based on one of the six major blueprints when it comes to body shape, such as two Fenders in the form of Strat and Tele, and four times Gibson with the classics Les Paul, Explorer, Flying V or those SG mentioned above, a short form for the meaningless original name “Solid Guitar”.
This instrument has been in the Gibson catalog since 1961 and, like the other models, has all the highs in the form of excellent craftsmanship at the beginning of the model's introduction down to the darkest manufacturing waste in the form of the total sell-out under the Norlin leadership in the mid-seventies to the beginning of the year Experienced everything in the eighties. Fortunately, the company in Nashville recovered from this crisis some time ago and is now producing in its former glory, which the company once again manifests in the same breath as its eternal competitor Fender as the two parents of rock'n'roll.
After Gibson was of the opinion that at the end of the fifties they definitely had to work on their loss of image ("home-baked") compared to their competitor Fender ("crisp fresh"), the SG was even marketed under the Les Paul model for almost 3 years, until the namesake Through increased bullying, he ensured that his name was only allowed to appear on the guitar shape he had designed. From 1964 the name SG finally became established.
Like all traditional companies, Gibson also shares the problem that once you have created a classic, it is difficult to develop it further without alienating your customers. But just building the same model over decades without any development can quickly lead a company to become complacent, only to be suddenly overtaken by a young spur on the left, like the Americans did in the 80s with the Japanese Armada happened.
For this reason, Gibson has been striving for several years to subject its classics to a small or medium-sized spring treatment, which is reflected in the form of a subtle further development or also attracts attention through the introduction of new systems. In the Gibson SG Standard 2015 available for testing, some details were added or even replaced, so that in some areas one can speak of a new instrument, or at least a proper update.
construction
Gibson has also recognized that you shouldn't change what has been tried and tested and remains true to the extensive mahogany principle when it comes to the body and neck. Both the body and the neck are made from one piece, although we deliberately leave out the fundamental discussion as to whether a one-piece construction is superior to a multi-part construction in terms of vibration behavior. The fingerboard is also made of one piece of rosewood and impresses with its fine-pored finish.
In contrast to the Les Paul, whose angular body is still reminiscent of the old school of full resonance guitars, the entire body of the SG has a subtle shaping on both the front and back, which makes handling appear a little smoother. A wide, strong “D” was once again used as the neck profile, which is particularly beneficial for playing chords. The stop tailpiece and the five-layer pickguard also turn out to be old friends. But that's it for consistency, here comes further development.
Let's take a look at the most striking tool first, the G-Force tuning system from Tronical, which was marketed by Gibson some time ago as the e-Tune. Here are the key points. The G-Force system works with six small motors that are embedded in the tuning mechanisms and, depending on the preset, tune the guitar by turning the mechanics. 18 different tunings can be set and accessed using six pressure points on the back of the headstock. The system works very quickly, absolutely reliably and it was not for nothing that it received the highest rating in the test report at the time.
There is also a new saddle, which introduces the zero collar on the SG for the first time. In addition to aligning the open string tone with the fingered tone, the structure is intended to increase the sustain in particular. Gibson guitars are now also adjusted using PLEK technology, which guarantees maximum accuracy in terms of fret alignment. In addition, a higher quality output socket was installed, which now grips the plug much more firmly and securely. The internally installed cables have also been made more robust and thicker, a fact that many Gibson Vintage owners would have liked to have seen on their old treasures. You can hardly imagine what you're faced with now.
Something has also changed with the pickups. What remains are the two Classic 57 pickups, which have a DC resistance of 7.92 kiloohms and are equipped with Alnico magnets. What is new, however, is the fact that both pickups can be split using two push/pull potentiometers, which significantly increases the sound variations. In order to be able to specifically celebrate Gibson's most famous endorser, the signature of Les Paul and the number 100 were placed on the front of the headstock in memory of his 100th birthday, while a hologram with his likeness adorns the guitar on the back.
Last but not least, the guitar was given a new case, which, according to Gibson, would allow the guitar to survive a fall from 4.50 meters and would be four times more stable than a standard case. The airline ground staff will be happy because they can finally throw the instruments even further than before and continue to use the cases as steps with a clear conscience.
Practice
Picked it up, connected it, played 3 chords and done. What sounds like a quick test is actually the Hofknicks in front of an established concept, which has increased in quality thanks to very good, established ingredients and subtle upgrades. The Gibson SG Standard continues to be the basis of the ultimate rock guitar. It is light, offers very good playability and, due to its design, has a long-lasting sustain, which supports the artist in both chord and solo playing.
Due to the pickup splitting, the Gibson SG Standard 2015 for the first time approaches areas that were previously reserved for the Fender group or could possibly be reached with a P90. Yes, I know, of course it's mahogany and yes, it doesn't sound EXACTLY like a Leo output, but the cover band mucker inclined will be happy not to have to bring another guitar to the show just to play "Summer Of 69".
Modern playing styles in the form of tapping, sweeping and bending of the common kind can also be easily implemented on the instrument, which, like many other traditional instruments, does not get in the way of handling itself due to the older concept.
Conclusion
With the Gibson SG Standard 2015, the traditional company from Nashville has once again managed to transport its legendary reputation from back then to the present. Through subtle facelifts combined with preserving old values, the company succeeds in building a modern guitar whose sometimes intimidating heritage can still be heard down to the smallest detail.
The current SG version is an excellent instrument in every respect, which does not have to fear comparison to the competition or to its own history. You have to get that done first.
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Additional Informations:
Introduction:
The Gibson SG stands as a legendary icon in the realm of electric guitars, revered for its sleek design, powerful sound, and enduring legacy. From its inception in the early 1960s to its status as a staple of rock 'n' roll culture, the SG has left an indelible mark on the world of music. Exploring the origins of the Gibson SG reveals a fascinating journey of innovation, collaboration, and artistic evolution within the storied history of Gibson Guitars.
The Prelude:
The story of the Gibson SG begins in the late 1950s, amidst a shifting landscape in the music industry and the burgeoning popularity of electric guitars. As demand for solid-body instruments grew, Gibson sought to expand its product lineup beyond the iconic Les Paul model, which had become synonymous with rock 'n' roll excellence.
In 1958, Gibson introduced the revolutionary "Modernistic" series, which included futuristic designs such as the Explorer, Flying V, and Moderne. While these designs pushed the boundaries of guitar aesthetics, they initially met with limited commercial success and were soon discontinued.
The Birth of the SG:
Undeterred by the lukewarm reception to the Modernistic series, Gibson continued to explore new avenues for guitar design. In 1960, the company unveiled the SG (Solid Guitar) series, which represented a departure from the traditional Les Paul design while retaining the core elements of Gibson craftsmanship and quality.
The SG was the brainchild of Gibson's president at the time, Ted McCarty, and famed guitar designer, Les Paul. Seeking to create a lighter, more streamlined instrument that would appeal to a younger generation of musicians, McCarty and Paul collaborated on the design of the SG, incorporating features such as a double-cutaway body, slim neck profile, and sleek contours.
The result was a guitar that exuded modernity and playability, with a distinctive aesthetic that set it apart from its predecessors. The SG's lightweight mahogany body and slim neck profile made it a favorite among guitarists seeking speed, agility, and versatility on stage.
Early Models and Evolution:
The initial lineup of SG models introduced in 1961 included the SG Junior, SG Special, and flagship SG Standard. These guitars featured variations in pickups, finishes, and hardware options, catering to the diverse needs and preferences of musicians.
One of the defining features of the SG Standard was its pair of humbucking pickups, which delivered a powerful, dynamic tone that became synonymous with the Gibson sound. Combined with its resonant mahogany body and iconic double-cutaway design, the SG Standard quickly gained popularity among rock guitarists seeking a bold, expressive instrument.
Throughout the 1960s, Gibson continued to refine and expand the SG lineup, introducing new models such as the SG Custom with its distinctive "Maestro" vibrato system and ornate appointments. The SG also found favor among blues, jazz, and psychedelic rock musicians, thanks to its versatile tonal palette and ergonomic design.
Cultural Impact and Legacy:
The Gibson SG rose to prominence during the golden era of rock 'n' roll, becoming the instrument of choice for countless iconic musicians. From the searing leads of Angus Young to the blues-infused riffs of Eric Clapton and the psychedelic explorations of Jimi Hendrix, the SG's distinctive voice and sleek aesthetics resonated with artists across genres and generations.
The SG's enduring legacy is evident in its continued popularity among musicians today, as well as its iconic status in popular culture. Its sleek, devil-horned silhouette has graced countless album covers, concert stages, and music videos, cementing its place as a symbol of rebellion, innovation, and artistic expression.
Conclusion:
The Gibson SG stands as a testament to the enduring legacy of Gibson Guitars and the visionary spirit of its designers and craftsmen. From its humble beginnings as a departure from tradition to its status as a cultural icon, the SG has remained at the forefront of electric guitar innovation for over six decades.
As Gibson continues to evolve and innovate in the 21st century, the SG remains a shining example of the company's commitment to quality, craftsmanship, and artistic expression. With its timeless design, powerful sound, and enduring legacy, the Gibson SG continues to inspire musicians and captivate audiences around the world, ensuring its place in the pantheon of great guitars for generations to come.
TEST: Gibson Les Paul Standard 50s TB
“A Les Paul Standard in the test? Are you kidding me? You could just as easily “test” a JCM 800 2203. What's the point of a test about an instrument about which everything you can possibly imagine has already been written about?" That's what many readers will probably think when they notice the announcement about this test. At first glance, there may be a lot of truth to this theory, but the Gibson company has had a very eventful past, especially when it comes to its main source of sales, so testing the current Gibson Les Paul Standard 50s TB (Tobacco Burst) is out of the question sometimes wrong.
Gibson and the Valley of Tears
Anyone who has been a Les Paul player since the beginning, like me, has certainly not had an easy time of it over the last 5 decades with the decisions that the various company management have made over the course of this time. Although the introduction of the oldest signature model in electric guitar history ever started in 1952, due to the huge success of Leo Fender's Broadcaster / Telecaster Offensive, it was comparatively jerky in several detailed solutions, but the model developed into an equal competitor by the end of the sixties the electric guitar industry, which Fender and Gibson have previously shared relatively evenly between themselves. Not to forget the legendary approx. 2,000 LP standards from 1958 - 1960, which are traded with an average price of approx. $500,000, and can easily break the 1 million mark with a well-known previous owner.
By the 1970s at the latest, when after the sale to the Norlin Group even the largest amount of wood waste was pressed into a kidney shape in the form of knotholes in order to squeeze the maximum profit from the brand, the throne of the company founded by Orville Gibson wobbled immensely . As soon as the quality had improved somewhat, the buyer's favor was once again put to the test with the forced introduction of the Robo Tuner, combined with the vibration-related imposition of a “chambered body” and culminated in the total capitulation in terms of external performance when Gibson preferred to perform hundreds in front of the cameras of instruments destroyed with saws, hammers and excavators for reasons that are still not really understandable, rather than, for example, donating them to charity. In addition, several manufacturers around the world are suffering from the legal frenzy of the Gibson Group's legal armada, so that one got the impression that Gibson was spending more manpower on protecting their designs through long-term lawsuits than on building proper guitars. Finally, there was the environmental scandal of 2009, when Gibson was found to have engaged in illegal logging in Madagascar. You can see a lot of strong tobacco.
It happened as it had to happen, the completely incompetent management team at the time was replaced as CEO by the new manager James Curleigh, who repeatedly emphasized in every interview that he now wanted to return to Gibson's old strengths and that everything would be fine again. Let's see whether he succeeds, because a lot has changed in the guitar sector in the last 50 years, which means that there are several hundred competitors who produce at the same or even higher level than Gibson.
The structure of the Gibson Les Paul Standard 50s TB
The standards of the instrument are basically always the same, it's the details that matter. If you spend “only” just under €2,300 on American production, you may have to cut back on one or two high-end areas, we’ll see. Let's start with the choice of wood. As always, mahogany as far as the eye can see with a two-piece maple top to boost the treble range and please the eye. In the model I have, the grain is rather subtle; with 4- to 5-fold A in curly or cloud maple, the VK should be correspondingly higher. The mahogany body is three-piece, the neck is one-piece, a good choice in my opinion. I own several Paulas with one-piece or multi-piece bodies, and I can't detect any different resonance behavior. In return, a one-piece mahogany body drives up the price massively, so it's a good choice.
When you pick up the instrument for the first time, you are actually reminded of the times when guitars were still played by “men” ;-) With a weight of 4.2 kg, the instrument is still less than that 5 kg and more sledgehammer Paulas from the eighties, but also well above the 3 kg average guitar league, for example in the Powerstrat range. When it comes to neck shaping, Gibson also fulfills his promise to stick as closely as possible to the legends of almost 63 years ago, meaning the neck is a strong C, but still far away from half the baseball bat class of the late 1960s. As expected, all other optical attributes such as the one-piece binding, the trapezoid inlays, one-piece pickguard, etc. also adhere to the specifications of the original. Only a few details such as the Graph Tech saddle have been changed compared to the bone saddle, which is very welcome for me personally for ethical reasons. The same applies to the paintwork, which was of course based on nitro, allows the instrument to have a maximum variety of vibrations with comparatively little protection and changes to the popular “crackling” quite early on.
The Burstbuckers 1 and 2 are used as pickups, which are modeled on the 57 Classic and, based on Alnico, have a few fewer windings on the coils than is generally the case. For maximum approximation, Gibson even added a few orange drop capacitors to the production model.
In practice
Even in dry operation you immediately feel that Gibson has apparently learned from its countless mistakes of the past. There it is finally again, the legendary vibration behavior of a high-quality wooden construction, in combination with perfect workmanship and the short scale length of 628 mm. The sustain is exceptionally good and the response of the instrument is exactly as you would expect from countless global hits from the sixties and seventies. Gone is the disgrace of the “Weight Relief”, which not only completely ignored the soul of the instrument (a Les Paul weighs as much as a Les Paul weighs as much as a Les Paul), but also castrated the vibration behavior as if with a butcher's knife. Some people still have to get used to the vintage flat frets due to the overpowering jumbo fret omnipotence, but this happens comparatively quickly. Oh yes, the fingerboard is made of rosewood. Unfortunately I couldn't find out which subspecies, but I'm very sure that it no longer comes from illegal harvesting.
The amplified sound does the rest to finally put a smile on the tester's lips again after 20 years of Les Paul agony of the saddest kind. In order to provide the model with an appropriate vintage partner in the area of amplification, I deliberately did not choose a modern high gain monster, but rather a suitable low gain variant in the form of the Sound City Master 100, in combination with a 412 Marshall the eighties, equipped with Celestion G12 65 vintage speakers and two Fame MS57 microphones and a Heil PR30. This was a wonderful way to capture the spirit of the early decades, with the amp generating a touch of fuzz at full load. A perfect interaction.
Of course you can also get high gain tones from the instrument, but the entire construction including the low gain humbuckers suggests the maximum use of lead sound gain. Old bands like Free, The Who, Stones or Led Zeppelin slip through your fingers as if by themselves with this setup and allow you to briefly immerse yourself in a glorious decade beyond backing tracks, Kemper and amp emulation plugins. Splendid …
Conclusion
With the Gibson Les Paul Standard 50s TB, the US company apologizes for the many mistakes of the past and offers the musician an outstanding instrument with the flair of having invented rock'n'roll together with the Startocaster. The instrument is excellently made, offers excellent vibration behavior and gives the user exactly the feeling you would like to experience with a Paula. Nothing against the countless Luthiers who enrich the guitar market with absolute top products, but if Gibson can maintain this level of quality in the future, they can finally look back with pride on the luck of their early birth and present themselves with an upright posture.
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Additional Informations:
Introduction:
The Tobacco Burst finish is an iconic hallmark of Gibson Guitars, revered by musicians and collectors alike for its timeless elegance and vintage appeal. Originating in the mid-20th century, this distinctive finish has become synonymous with classic rock 'n' roll aesthetics and has left an indelible mark on the world of electric guitars. Exploring the genesis of the Tobacco Burst finish reveals a fascinating journey of innovation, craftsmanship, and artistic expression within the storied history of Gibson.
The Birth of Burst Finishes:
The concept of burst finishes, characterized by a gradual transition from a darker hue at the edges to a lighter shade at the center, first emerged in the early 20th century within the realm of violin-making. Master luthiers would employ techniques such as hand-staining and shading to enhance the visual appeal of their instruments, imbuing them with a sense of depth and sophistication.
In the 1950s, as Gibson expanded its lineup of electric guitars, the company sought to differentiate its instruments with distinctive finishes that would capture the imagination of musicians. Inspired by the craftsmanship of vintage violins and the desire to create visually striking guitars, Gibson introduced burst finishes to its electric guitar models, including the iconic Les Paul.
The Development of Tobacco Burst:
Among the various burst finishes pioneered by Gibson, the Tobacco Burst quickly emerged as a standout option, prized for its rich, warm tones and vintage aesthetic. The name "Tobacco Burst" evokes images of aged tobacco leaves, with hues ranging from deep browns to golden amber, creating a sense of warmth and character.
The precise origins of the Tobacco Burst finish within Gibson's production timeline are somewhat shrouded in mystery, with conflicting accounts and variations over the years. However, it is widely believed that the Tobacco Burst finish gained prominence during the late 1950s and early 1960s, coinciding with the heyday of rock 'n' roll and the rise of iconic Gibson models such as the Les Paul Standard and the ES-335.
Craftsmanship and Technique:
The creation of the Tobacco Burst finish required a combination of skillful craftsmanship and meticulous attention to detail. Gibson's master finishers employed a variety of techniques to achieve the desired effect, including hand-spraying layers of nitrocellulose lacquer, shading the edges with precision, and meticulously blending the colors to create a seamless transition.
Each Tobacco Burst finish was a work of art in its own right, with subtle variations and nuances that added to its allure. The aging process of the nitrocellulose lacquer over time would further enhance the finish, giving it a distinctive patina and vintage character that is highly sought after by collectors and enthusiasts.
Cultural Impact and Legacy:
The Tobacco Burst finish quickly became synonymous with the golden era of rock 'n' roll, adorning the instruments of legendary musicians such as Jimmy Page, Eric Clapton, and Duane Allman. Its timeless appeal transcended musical genres, spanning blues, rock, jazz, and beyond, cementing its status as an iconic symbol of vintage guitar craftsmanship.
Over the decades, the Tobacco Burst finish has remained a staple of Gibson's product lineup, adorning a wide range of electric guitar models, from the Les Paul and SG to the ES series and beyond. Its enduring popularity speaks to its timeless elegance and universal appeal, serving as a testament to the enduring legacy of Gibson Guitars and the artisans who craft these instruments with passion and precision.
Conclusion:
The Tobacco Burst finish stands as a testament to Gibson's commitment to excellence and innovation in guitar design. From its humble beginnings as a nod to vintage violin-making techniques to its status as a cultural icon, the Tobacco Burst finish has captivated generations of musicians and enthusiasts with its beauty, warmth, and character. As Gibson continues to evolve and innovate in the 21st century, the Tobacco Burst finish remains a shining example of the company's rich heritage and enduring legacy in the world of electric guitars.
TEST: Gibson Les Paul Junior
We jump back 6 decades and write the year 1958. America's former flagship guitar manufacturer Gibson is fighting with all means against the ever-increasing popularity of the Fender Stratocaster and is desperately trying to put its flagship Les Paul in the limelight. As early as 1954, Gibson took a multi-pronged approach to its model policy and tried to offer the Les Paul model, which was relatively expensive due to the amount of manual work, in cheaper regions in order to be able to compete with the price of the Stratocaster, which was made from regional wood and partly by semi-skilled workers. In addition to the standard version and the even more expensive custom version, Gibson is launching the Special for those on a budget and, as the simplest model for students and other hungry people, the Gibson Les Paul Junior.
Finally, in 1958, the quartet was able to position itself even better thanks to the invention of the humbucker pickup in 1957, compared to the custom (gold hardware, black), standard (in sunburst, today worth up to half a million euros, even more with famous previous owners , also painted opaquely as Gold Top), the Special (2 P-90 pickups without any prettification) and the Junior, which “only” has a second cutaway as a simple board with just one pickup. The latter model, which was discontinued in 1963 and reanimated in 2001, is now available for testing. By the way, the model is clearly ahead of its time, according to the stamp it is a 2019 model, and the serial number also takes us into the future...
The concept of the Gibson Les Paul Junior
As the “dirty little sister” of the Les Paul Standard mother, the path of the “Plank” was quickly mapped out. The burgeoning rock'n'roll in dirty and small clubs called for a guitar that could handle a lot, forgive a lot and also sound well in the mud of the cellar. Equipped with probably the best single-coiler ever built, the Gibson Les Paul Junior achieved a unique sound with powerful crunch that was snappy but not cutting. Punk with all its variations seemed predestined for the sound of this instrument; it is not for nothing that Billie Joe Armstrong from pop punk band Green Day is currently the most famous and successful Gibson Les Paul Junior player.
Fat lead sounds and singing solo passages were and will probably never be the maxim of the Gibson Les Paul Junior, but in the hard rhythm range no one can give this instrument a run for its money. However, the originals from 60 years ago often suffered from various hardware problems, so we will focus primarily on this point and the choice of wood.
The construction of the Gibson Les Paul Junior
Mahogany as far as the eye can see, at least that's how it was in the original edition from the fifties. The 2019 version broke with this doctrine in that the neck was now made of maple, which is generally said to have a stronger treble presence. A rosewood fingerboard (Dalbergia latifolia) and a three-piece mahogany body complete the wood selection. Experts are still arguing about whether a one-piece body can be distinguished from a multi-piece body in terms of sound, so I too am cautious about whether the sound can be improved.
The fact is, however, that the body construction was primarily about savings. The body consists of 3 pieces of different sizes, which you could just barely use as waste. The paintwork is also not opaque, but rather open-pored, which reveals another visual flaw. As is well known, mahogany is a comparatively brittle wood that tends to crumble, especially when machines are used. This appears to have been the case several times during the production of the Gibson Les Paul Junior.
In the curves of the cutaways we have long had unclean finishes in the direction of growth of the wood, which were not really neatly refinished by hand. You almost get the impression that the CNC milling was just done before painting. Of course, this requires manual work and it costs money. The negative highlight, however, is the saddle, which although it sits cleanly, leaves an impression on the outer edges as if it had been “ticked off” with a box knife. Sorry, with “Made in USA” something like that doesn’t work with the best will in the world.
When it comes to hardware, Gibson once again relies on the simple but tried and tested Deluxe versions, while a compensated wraparound bridge is used as the bridge. The octave purity is roughly specified and can usually be adjusted 90% satisfactorily for the majority of all string sets. However, a wound G string is out of the question for this bridge.
The Gibson Les Paul Junior in practice
Sound files are always a nice thing, but on the one hand pure guitar sounds are generally quite boring and on the other hand they lack the context of a band sound. In order to test the assertiveness of the Gibson Les Paul Junior in this context, I recorded a few simple backing tracks that the guitar can lay on. It was played on a Marshall 2203 head from 1976 and a Marshall 412 260 watt cabinet from the eighties, and the recording was done on an SM57 plus Mackie 32-8-8 console.
Already from the first notes of the clean sound you can hear the reason why this instrument has survived to this day despite its completely unadorned, even inconsequential appearance. The construction sounds incredibly good, which is particularly due to the P-90 pickup. The sound is powerful in the mids with plenty of attack, without having to fear the sometimes cutting sound of a Fender single-winder. The sound is very dynamic and depends very much on the musician's approach.
What turns out to be an absolute joke, however, is the 009 phrase that was added at the factory. Despite the flat vintage frets, a lot of my energy goes into not using my fretting hand too hard and destroying the intonation. In addition, almost every touch makes a buzzing sound, which is also due to my playing style. In my opinion, an instrument like the Gibson Les Paul Junior should receive at least one 011 set, which would be very beneficial for its use on the rhythm level.
With the first crunch sounds the sun finally rises. It's hard to describe how the archaic duo Gibson - Marshall finds each other again. No stompbox, no emulation, no post-processing, no nothing and the sound is just great. The classic rock sound par excellence, which produces one classic sound after the other depending on the musician's skills.
However, if you are looking for high gain sounds, you are in the wrong place here. One is inclined to say that once the gain factor reaches a certain point, the P-90 simply stops working and then it simply doesn't want to work anymore. Interestingly, the typical single-spool feedback only sets in very late. The generally higher electromagnetic field interference compared to the humbucker was also limited. Apart from a moderate mains hum, I couldn't make out any background noise.
The tone control was designed to be very extreme, probably in order to give the purist guitar a second sound. If you turn the control all the way down, the instrument sounds like a wah-wah pedal in the heel position with a thick wool blanket over the speaker. Nicely meant, but only to be used for experimental sounds. Well, maybe add a really broken fuzz to the amp and then tackle the Billy Gibbons memory sound.
Even with single notes, the guitar makes a slender footing. The instrument masters funky lines and chord patterns in the Nile Rodgers style as well as typical Prince passages, whereby the guitar can also fully exploit its dynamics here. The attached sound file was recorded with a comparatively high gain, but the end result is still moderately crunchy, simply because I play the individual parts with a fairly high dynamic.
Conclusion
With the Gibson Les Paul Junior, two different parameters of buyer popularity come together. The almost blunt and in no way “Made In USA” processing is juxtaposed with one of the greatest rock sounds of our time. The P-90 construction delivers everything that is needed in terms of rhythm sounds, from clean to funk, AOR, classic rock to hard rock, with such ease that the whole pedalboard mania can make you fear and anxiety.
Anyone who dares to give up compression and high gain security for direct dynamic response should definitely give this instrument a try. Whether Gibson can continue to afford such gross manufacturing quality in their own country, especially given their already very difficult company situation, remains to be seen.
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Additional Informations:
Introduction:
Gibson Guitars stands as an iconic brand in the realm of musical instruments, renowned for its craftsmanship, innovation, and enduring influence on popular music. The journey of Gibson spans over a century, marked by triumphs, challenges, and milestones that shaped the landscape of guitar manufacturing and music culture. From humble beginnings in Kalamazoo, Michigan, to global recognition as a premier guitar maker, the story of Gibson is a testament to entrepreneurial spirit, technical prowess, and artistic vision.
The Early Years:
The roots of Gibson Guitars can be traced back to the late 19th century when Orville Gibson, a talented luthier, began crafting mandolins in his small workshop in Kalamazoo, Michigan. His innovative designs and meticulous craftsmanship soon garnered attention, laying the foundation for what would become one of the most celebrated guitar companies in history.
In 1902, Orville Gibson founded the Gibson Mandolin-Guitar Manufacturing Company, marking the official beginning of Gibson's legacy. His early instruments featured groundbreaking designs, such as arched tops and f-holes, which set them apart from traditional flat-top guitars of the time. These innovations not only improved the sound quality but also established Gibson as a pioneer in instrument design.
The Arrival of Lloyd Loar:
One of the pivotal moments in Gibson's history occurred in the 1920s with the arrival of Lloyd Loar, a brilliant engineer and musician. Loar's revolutionary ideas transformed Gibson's instruments, elevating them to new heights of tone and playability. His contributions include the development of the Lloyd Loar-signed Gibson F-5 mandolin, revered for its superior sound and craftsmanship.
Loar's influence extended beyond mandolins, as he played a key role in the design of the Gibson L-5 guitar, which became the world's first commercially successful archtop guitar. His meticulous attention to detail and insistence on quality control set a standard that would define Gibson's reputation for decades to come.
The Golden Age:
The period between the 1930s and 1950s is often referred to as Gibson's "Golden Age," characterized by innovation, prosperity, and artistic achievement. During this time, Gibson introduced some of its most iconic instruments, including the Gibson ES-150 electric guitar, which revolutionized the music industry by popularizing the electric guitar in jazz and popular music.
In 1952, Gibson unveiled the Les Paul model, named after the renowned guitarist and inventor, Les Paul. The Les Paul quickly gained popularity among musicians for its solid body design, powerful sound, and innovative features such as the adjustable bridge and dual-coil pickups. It remains one of the most iconic electric guitars of all time, synonymous with rock 'n' roll and modern music.
Another milestone of the Golden Age was the introduction of the Gibson SG in 1961, originally marketed as the "Les Paul SG." Its lightweight design and aggressive tone made it a favorite among rock guitarists, further solidifying Gibson's reputation as a leader in electric guitar innovation.
Challenges and Rebirth:
Despite its storied history, Gibson faced significant challenges in the latter half of the 20th century, including changes in ownership, financial struggles, and increased competition from foreign manufacturers. In the 1970s and 1980s, quality control issues and management changes led to a decline in Gibson's reputation and market share.
However, the company experienced a resurgence in the late 20th century and early 21st century, thanks to strategic partnerships, revitalized product lines, and a renewed focus on craftsmanship and innovation. Under the leadership of CEO Henry Juszkiewicz, Gibson underwent a transformation, expanding its reach into new markets while reaffirming its commitment to quality and tradition.
Gibson Today:
In the 21st century, Gibson continues to thrive as a leading manufacturer of guitars, basses, and other musical instruments. The company's product lineup includes a diverse range of models, from timeless classics like the Les Paul and SG to modern innovations such as the Gibson Firebird X and the Gibson Robot Guitar.
In addition to its core guitar business, Gibson has expanded its offerings to include lifestyle products, accessories, and digital services, catering to the evolving needs of musicians and enthusiasts worldwide. Through strategic acquisitions and partnerships, Gibson has diversified its portfolio to include brands such as Epiphone, Kramer, and KRK Systems, further solidifying its position in the music industry.
Conclusion:
The story of Gibson Guitars is one of resilience, innovation, and enduring legacy. From its humble beginnings in a small workshop to its status as a global powerhouse, Gibson has remained at the forefront of guitar manufacturing for over a century. With a commitment to quality, craftsmanship, and artistic expression, Gibson continues to inspire musicians and shape the future of music for generations to come.