Monthly Archives: May 2011

Gibson USA Introduce Joe Bonamassa Les Paul Studio Signature

When talk turns to real-deal contemporary blues-rockers, Joe Bonamassa’s name rides at the top of the list every time. Through a string of hard-hitting solo recordings and guest appearances and a relentless touring schedule, Bonamassa has brought searing electric blues-rock back to its American roots, and helped to redefine the genre in the process. He has won top honors on countless “guitarist of the year” polls, and #1 status on the Billboard Blues chart – and his Gibson Les Paul has ridden shotgun for the entire journey. “For me to be myself,” says Bonamassa, “I have to play a Les Paul. I plug it in and it sounds like me—exactly the way I’m supposed to sound. Anything else just doesn’t make sense.”

Previously, the Gibson Custom Bonamassa Artist model Les Paul offered players fortunate enough to be able to acquire one, and afford it, a taste of Bonamassa’s personal Les Paul. Now Gibson USA gives you an easier way to lay your hands on a top-flight Made-in-the- USA guitar that nails the look, feel and tone of this demanding artist’s own personal instrument: the Joe Bonamassa Les Paul. Packing the classic construction and tonewoods that have set Les Pauls apart for nearly 60 years, a pair of Gibson’s most acclaimed humbucking pickups and the stylish look of Joe’s own guitar, this is a great Les Paul by any standards.

The mahogany-and-maple combination has always been at the cornerstone of the classic Les Paul tone, and the Joe Bonamassa Les Paul from Gibson USA stays true to tradition in grand form. A carved maple top offers clarity and sustain to the overall brew, while a mahogany body—strategically chambered to reduce weight and enhance resonance—provides all the depth and sweetness for which this legendary tonewood is known. Traditional appointments continue with the glued-in solid mahogany neck with 17-degree back-angled headstock for optimum pressure in the PLEK-cut slots of the Corian nut. A full, rounded neck profile that measures .838″ at the 1st fret and .983″ at the 12th offers a meaty grab in the hand, while enhancing overall resonance. A 1 11/16″ width at the nut and a rosewood fingerboard with 22 medium-jumbo frets with a 12″ radius further assist in a playing feel that is classic Les Paul all the way.

Wrap it all up in a supremely elegant look that reflects Joe Bonamassa’s own esthetic choices—with a Goldtop nitrocellulose finish complemented by “black-back” sides, back and neck, black plastic trim, mismatched gold and amber “Top Hat” control knobs, with “Joe Bonamassa” engraved in the truss-rod cover—and this is a truly eye-catching instrument.

To boot it all into the tonal stratosphere, Gibson USA packs in a pair of its highly acclaimed BurstBucker™ humbuckers, a BB2 in the neck and a hotter BB3 in the bridge. BurstBuckers™ are Gibson’s most accurate recreation of the legendary PAF (“Patent Applied For”) humbuckers of the late ’50s and early ’60s, and include magical details like unpolished Alnico II magnets and unequal turns of 42 AWG wire on each bobbin, which results in the added “edge” or “bite” for which genuine PAFs are famous. To combat microphonic squeal at high volumes, however, these BurstBuckers are double vacuum wax potted, a must for the high-gain guitarist. Chrome kidney-button Grovers™ ensure outstanding tuning stability, while a chromed Tune-o-matic bridge and Stopbar tailpiece provide the accurate intonation and solidity and sustain that has made this hardware set famous for six decades.

Each Joe Bonamassa Les Paul includes a Gibson hardshell case and owner’s manual, and is covered by Gibson’s Limited Lifetime Warranty and 24/7/365 Customer Service.

  • Mahogany body with carved Maple top
  • Full, rounded neck profile
  • Rosewood fingerboard with acryrlic trapezoid inlays
  • Pair of BurstBucker™ humbucking pickups with BB2 in neck and BB3 in bridge
  • Kidney-button Grovers™ tuners with 14:1 tuning ratio
  • Body
  • Top Maple
    Back Mahogany
    Body Type Traditional Weight Relief
    Adhesive Franklin Titebond 50



    Species Mahogany
    Profile Rounded, Traditional Profile
    Truss Rod Traditional Adjustable
    Joint Angle 5° (+/- 15 seconds)
    Adhesive Franklin Titebond 50


    Neck Fit

    Joint Mortise & Tenon
    Adhesive Franklin Titebond 50
    Joint Angle Tolerance +/- .005″

    Neck Fit


    Species Rosewood
    Frets 22
    Radius 12″
    Nut/E.O.B 1.695″/2.260″
    Inlays Acrylic Trapezoids



    Material Corian
    Width 1.695
    Slots Gibson PLEK System



    Logo Gold “Gibson” Logo with scripted “Les Paul Model”
    Truss Rod Cover Black Antique Bell with White “Joe Bonamassa” Signature



    Model Grover™ with Kidney Buttons
    Plating Chrome
    Tuning Ratio 14:1



    Type Tune-O-Matic
    Material Zamak
    Plating Chrome



    Type Stop Bar
    Material Zamak
    Plating Chrome



    Knobs Rhythm: Amber Top Hats
    Lead: Gold Top Hats w/Silver Inserts
    Toggle Switch Washer Black with Gold Imprint
    Pickguard 5-Ply B/W
    Pickup Mounting Rings Black Plastic
    Control Plate Cover Black Plastic
    Strings .010 – .046, Genuine Gibson strings
    Strap Buttons Aluminum



    Neck Position BB2 (Alnico II)
    Bridge Position BB3 (Alnico III)



    Potentiometers 2 Volume Controls, 2 Tone Controls
    Type 300k Linear Volume, 500k Non-linear Tone
    Coil Wiring Machine Wound
    Toggle Switch Three-way Switchcraft with Black Plastic Tip
    Output Jack Traditional 1/4″



    Sealer Nitrocellulose
    Surface Texture High Gloss
    Process 1-1.5 mils

    Gold Top


    Type Gibson Hardshell
    Case Exterior Black
    Case Interior White Plush


Give us a call at 01-8207425 or email us at to secure one


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Gibson Announce Les Paul Traditional with Bigsby

Crafted to exhibit the best characteristics displayed by the Les Paul Standard over the six decades of its existence, the Les Paul Traditional is a fitting heir to the guitar that Eric Clapton brought into the spotlight in the mid ’60s, and which quickly became the weapon of choice for countless top players, including Mike Bloomfield, Jimmy Page, Paul Kossoff and Jeff Beck. To capture an option favored by everyone from Neil Young to Keith Richards, Joe Perry to Carl Perkins and original Son Volt lead guitarist Dave Boquist, Gibson USA now brings you the Les Paul Traditional with Bigsby®.

Loaded with an original Bigsby® B-70 tailpiece, this instrument gives you all the fat, singing tone that the world’s leading single-cutaway guitar is known for, plus the added versatility of a vintage-style vibrato unit for expressive lead work and tremulous rhythm playing. As such, it’s a package with an extremely broad appeal, suitable to a wide range of playing styles.

The Les Paul Traditional with Bigsby is crafted with all the classic ingredients that helped make this model a legend, and it sports killer looks thanks to a stunning high-gloss Ebony Black nitrocellulose finish. A carved maple top contributes clarity and sustain, while a mahogany body adds depth and richness. Like all Les Paul Traditionals this guitar uses modern weight relief to enhance resonance and reduce weight. A solid one-piece quarter-sawn mahogany neck is glued in with a traditional mortis & tenon joint and is carved to a “Traditional” profile that measures .838″ at the 1st fret and .983″ at the 12th. Topped with a Grade-A rosewood fingerboard with 22 medium-jumbo frets, with a 12″ radius for each choke-free bending, the neck culminates in a headstock with the preferred 17-degree backward pitch for improved string pressure in the PLEK-cut Corian nut.

To launch all of this tonal goodness into the stratosphere, the Les Paul Traditional with Bigsby carries two of Gibson USA’s most popular humbucking pickups, a 57 Classic in the neck position for sweet, warm vocal tones, and a slightly hotter 57 Classic Plus in the bridge for gutsy crunch and soaring lead tones. These acclaimed units are made with genuine Alnico V magnets and wound with 42 AWG wire, just like the legendary PAFs of the late ’50s and early ’60s, and offer a blend of depth and clarity that few pickups can match today.

One of the most exciting additions to this guitar comes, however, in the tailpiece that helps to give it its name. A genuine Bigsby® B-70 tailpiece has been installed by Gibson USA for the subtle, smooth vibrato action that only this original unit can deliver. The Bigsby® is partnered with a Schaller™ roller bridge—a unit based on Gibson’s own Tune-o-matic, but with individual roller saddles—for improved return-to-pitch capabilities when the vibrato is used. The hardware is capped off with a set of quality TonePros™ Kluson-style tuners.

Each Les Paul Traditional with Bigsby® comes protected in a plush-lined hardshell case with black exterior and includes owner’s manual and adjustment literature, along with Gibson’s Limited Lifetime Warranty and 24/7/365 customer service.

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Stock Update: Mahalo Tele & Les Paul Ukuleles

Mahalo Tele & Les Paul Ukuleles back to stock

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Dunlop present The Inside Story on the MXR Custom Badass Line

The MXR Custom Badass design team is made up of musicians and engineers who have decades of professional experience backing up their mission to create high quality, factory hot-rodded classics fine-tuned to deliver a wider tonal spectrum, more versatility and increased dynamic range. The team also believes that premium tone and quality can be offered at a price anyone can afford because every player deserves great tone without over-inflated prices and exclusionary limited quantities.

With recent accomplishments such as the revamp of the Jimi Hendrix Authentic Analog series, the revolutionary MXR Carbon Copy, the award-winning MXR Bass Innovations line, and over 100 years combined experience under their belts, these guys are well-equipped to take on the Custom Badass project, beginning with the Custom Badass ’78 Distortion.

Meet the MXR Custom Badass design team:

Dunlop Director of New Products Jeorge Tripps (top left) and Dunlop Senior Engineer Bob Cedro (top right) Bryan Kehoe (bottom) puts the MXR Custom Badass ’78 Distortion through its paces

Jeorge Tripps made a name for himself in the boutique effects industry in the ‘90s when he created the Way Huge brand. He later worked on the design team at Line 6 that created the DL4 Delay modeler and other Line 6 products. He now works as Director of New Product Development at Dunlop Manufacturing, relaunching the Way Huge brand and leading conceptualization of MXR and Dunlop Electronics products.

Bob Cedro has been an engineer at Dunlop for 15 years. He got his start in the industry working for Boston founder Tom Scholz and his music accessories company SR&D, eventually becoming his guitar tech and co-writing and performing on Boston’s fourth album Walk On. At Dunlop he has developed the MXR Carbon Copy, the EVH Series, and the award-winning MXR Bass Innovations series among many more products.

Bryan Kehoe has 25 years of recording and touring experience with artists such as M.I.R.V., Les Claypool, and Jerry Cantrell, currently playing with his band the Kehoe Nation. He describes himself as a lifelong tone chaser. He is the host of Dunlop TV and is also involved with product development.

We spoke with the team about the design goals and how they were met.

How is a Custom Badass pedal different from a standard MXR pedal?

BK A lot of times cats will buy a vintage-type pedal and have a “boutique” guy put some sort of aftermarket mod on it, and the player ends up spending twice as much money. With the Custom Badass project, we’re taking classic effects and hot rodding them in-house. We’re giving customers a factory modded pedal at a reasonable price.

“With the Custom Badass project, we’re taking classic effects and hot rodding them in-house. We’re giving customers a factory modded pedal at a reasonable price.”

BC That’s right. It’s our way of offering boutique enhancements to classic guitar tones without spending all kinds of money. And with us, you get the kind of quality control that isn’t always available from boutique outfits.

How do you decide which pedals deserve to be “Custom Badassed”?

BK These decisions are based on the needs of the market and requests from our customers. Jeorge Tripps and the development team are really in tune with what our customers want.

BC We listen to feedback from every segment of our audience, whether it’s bands playing in bars, artists in the studio, or big arena guitar players. That is what ultimately guides the direction of the Custom Badass project.

Why did you choose to hot rod this particular circuit?

JT I was toying with the basic circuit idea back in the late ’90s. I was looking for a true distortion, something that had crunch but was beyond the overdrive. This pedal is true distortion; it’s not just an overdrive or a fuzz.

BK And back in the day there were only a few distortions available. In keeping with Dunlop’s respect for tradition while also moving forward with innovation, we chose this circuit because it’s a popular, familiar sound and tone that’s been used in numerous hit songs. We felt that we could improve upon the tone as well as the functionality.

BC We always get questions about how so-and-so artist got his tone on such-and-such song or album, hence the familiarity. Most of the time the recordings they’re referring to are from sometime between the mid ’70s and the ’80s. This is why we looked to the classic distortion designs as the well-deserved starting point for the ’78 Distortion.

What did you do to the circuitry to take it to the next level? How is the circuitry unique?

BC Well, the design goal was to enhance the note and chord sound clarity of the classic, ‘soaring’ guitar solo and wall-of-sound rhythm distortion circuit. We listened extensively to this pedal in different contexts and with different rigs, and the tweaking we did along the way resulted in an EQ topology and user-selectable clipping technique that really gives you very rich distorted tone that is still harmonically clear.

“A very rich distorted tone that is still harmonically clear.”

Can you describe the design process for the Custom Badass ’78 Distortion?

JT Hours and hours of tweaking. We took the prototypes out to clubs and listened to how it worked in real life gigging scenarios. Then we tweaked some more.

What is the best way to use the Custom Badass ’78 Distortion? In front of a clean amp?

BK Put the pedal on eleven!

BC (laughter) It sounds great in front of a super-clean amp, an amp that’s about to break up, or even a distorted amp, depending on the sound you’re trying to achieve and the distortion, tone, output and CRUNCH settings on the M78.

JT (nodding) Yeah, there really isn’t a best way. But I prefer it in front of a slightly overdriven amp.

What does the CRUNCH button do?

BK From a player perspective, the CRUNCH button opens up the range of frequencies. The bottom end is nice and tight, the high end gets a little more chimey, and the mids become a bit more focused. I can also hear more of the 2nd order harmonics and a bit less in saturation.

“The CRUNCH button opens up the range of frequencies. The bottom end is nice and tight, the high end gets a little more chimey, and the mids become a bit more focused.”

BC Right, and so what it does on a technical level is select between two different combinations of diode and LED clipping.  With the CRUNCH button unengaged, the distortion tone is more compressed with a lower threshold of clipping and a good odd-order harmonic balance.  With the CRUNCH button engaged, the distortion sounds less compressed with a larger dynamic range along with a bit more 3rd order harmonic distortion upon attack and then more 2nd order harmonic distortion when releasing a note or chord.

What kind of player is this pedal designed for? Metal? Rock? Blues?

BK I think this pedal will appeal to a wide range of players who are looking for an amp-like distortion with a spicy kick to it.

BC Yes, definitely. The controls on the M78 can be dialed in to get a wide variety of distortion tones and levels of clipping and saturation. And the open, amp-like sound Bryan mentioned will really hold your place in the mix when playing live.

JT Distortion is a wonderful thing in all types of music; this pedal’s distortion kicks ass more wonderfully than any other.


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Epiphone introduce 50th Anniversary 1961 Casino Outfit

Celebrate 50 Years of Epiphone’s Classic Casino! Epiphone has made a name for itself by producing some of the greatest and most innovative musical instruments for over 135 years. While models such as Masterbilts, Broadways, Wilshires, Coronets, Emperors and Texans are some of Epiphone’s most memorable models, the Casino is arguably our most famous due to its close association with the Beatles. Now, Epiphone brings back the first Casino in celebration of it’s 50th anniversary – the “1961” Casino. The new 1961 Anniversary Casino has many features that were discontinued after the first year of production. The result is a classic that will be both familiar and totally new even to Casino lovers like Paul McCartney, Paul Weller, Noel Gallagher and Keith Richards.

The Casino Story: For the Epiphone Company of 1961, the Casino was a small breakthrough. After the merger with Gibson in 1957, Epiphone no longer made jazz archtops. A new era of music had arrived. The introduction of the Casino was a modern design that merged Epiphone’s history with the best of Gibson electronics. Though from a distance it had the look of an ES-335, the Casino was a true hollowbody, giving players a clear, ringing tone that could be pushed into overdrive when needed. It was an ideal guitar for stage and studio and can be heard on many landmark recordings of the 20th Century including The Beatles’ “Sgt. Peppers Lonely Hearts Club Band” and The Beach Boy’s “Pet Sounds.” Maybe it’s purely coincidental that at the same time that the Casino was in its planning stages at Epiphone headquarters in Kalamazoo, Michigan, the Beatles were starting out, too. By 1964, the Beatles were stars and when Paul McCartney went shopping for a new guitar that would feed back, he reached for a Casino. John Lennon and George Harrison soon bought their own and used their Casinos on stage and at Abbey Road throughout the band’s career. Carl Wilson of the Beach Boys, Paul Weller of the Jam, and Noel Gallagher of Oasis are just a few of the players who made great records with Casinos.

Classic Vintage Styling and Unique Features: Introduced in 1961, the original Casino had unique features that ultimately were never offered beyond that first year. These include the pre-Gibson era triangle metal logo badge on the headstock, “Dot” fingerboard inlays, a blank two-ply “bullet” trussrod cover, a tortoise-colored pickguard with foil “E”, and black dog-ear P-90 pickups. Epiphone has faithfully reproduced these features for a one-of-a-kind retro look not found on Casinos produced after 1961. Other attention to detail includes the correct “burst” patterns on front and back, a neck joint at the 16th fret (instead of the 17th), Wilkinson(TM) vintage-style tuners with small plastic buttons, and the historically accurate rectangle “blue label” inside the sound hole.

Original Premium Electronics: No detail of the original ’61 Casino has been missed. Since the original Casinos incorporated parts and electronics from the Gibson factory, the 1961 Anniversary Casino has followed the same philosophy. Epiphone has recreated the original black P90s using a Gibson USA P-90R dog-ear pickup for rhythm and a Gibson USA P-90T at the bridge. Widely known as Gibson’s first successful single-coil pickup, these lean and mean P-90’s offer a stellar combination of high output and biting treble response. They also feature vintage two-conductor, braided, shielded wiring and black plastic covers. Other electronics faithful to the original Casino include a Switchcraft(TM) 3-way toggle and 1/4″ output jack. The P90’s were a favorite among jazz players for their clear horn-like tone. A young jazz student in 1961 could put on some flat wounds (and perhaps an unwound third if the teacher wasn’t looking) and hear the tone of Barney Kessel, Tal Farlow, or maybe even Charlie Christian.

Quality Construction, Hardware and Add-ons! Unlike an ES-335, the Casino is completely hollow which contributes to its unique, signature sound made most famous by the Beatles. The body is made of 5-layer Maple/Birch with a solid Mahogany SlimTaper(TM) neck attached using the traditional mortise and tenon neck joint hand-fitted and glued to the body using TiteBond(TM) glue. Hardware includes a tune-o-matic bridge and your choice of either a Trapeze tailpiece or Epiphone’s new reissue of the original Tremotone(TM) vibrato. Cool! To top it all off, each 1961 Casino features an original-style hard case with gray exterior and blue plush interior and a numbered certificate of authenticity. As with every Epiphone, it also comes with the peace of mind you get from a Limited Lifetime Warranty backed by Gibson Musical Instruments famous 24/7/365 day Customer Service.

Limited Production – Get One While You Can! Production records indicate that only 176 Casino TD’s (trapeze) and 153 Casino TDV’s (Tremotone) were made in 1961 so if you happen to have an original, you not only have a very rare instrument but a valuable one as well. Today, originals sell for $5,000 or more depending upon condition. So if you don’t own one, now’s your chance! But don’t wait too long. Epiphone is only making a total of 1,961 Anniversary Casinos and once they’re gone… they’re gone!

contact us @01-8207425 or emai to secure one.

Body Material: 5-Layer; Laminated Maple/Birch
Neck Material: Mahogany
Neck Shape: SlimTaper(TM)
Neck Joint: Glued-In; 16th Fret
Truss Rod: Adjustable
Scale Length: 24.75″
Fingerboard Material: Rosewood with Pearloid “Dot” Inlays
Fingerboard Radius: 14″
Frets: 22; Medium-Jumbo
Bridge Pickup: Gibson U.S.A. P-90T
Neck Pickup: Gibson U.S.A. P-90R
Controls: Bridge Volume, Neck Volume, Bridge Tone, Neck Tone, Switchcraft(TM) 3-way Toggle, Switchcraft(TM) 1/4″ Output Jack
Bridge: Tune-o-matic
Tailpiece: Trapeze or Tremotone(TM)
Nut Width: 1-11/16″
Hardware: Nickel
Binding: Body and Fingerboard
Machine Heads: Wilkinson(TM) Vintage-Style, 14:1 Ratio with Small Plastic Buttons
Colors (Trapeze): Royal Tan or Vintage Sunburst
Colors (Tremotone): Vintage Sunburst
Includes: Vintage Hard Case (Gray Exterior with Blue Plush Interior), Numbered Certificate of Authenticity
Warranty: Epiphone Limited Lifetime
Service: 1-800-4GIBSON (1-800-444-2766)

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Zoom new R8 Recording interface

The Total Music Production Solution…
Just Got Smaller.

Zoom takes the turbocharged design of the R24 and scales it down for an ultra-portable music production solution. Like its predecessor, the R8 combines four production tools in one versatile device. In addition to being an 8-track recorder that utilizes SD memory, the R8 is an audio interface, a DAW control surface and a sampler complete with drum pads and a rhythm machine.

Click here for more details

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Gibson BFG Gator unveiled

The Les Paul BFG in all its variations has won fans the world over, proving itself one of the most versatile incarnations of the legendary single-cutaway tone machine that Gibson has ever concocted. Now the Les Paul BFG Gator adds some stunning new tricks, and wraps it up in a look befitting of the sonic power that this meaty new tone monster represents. The addition of a fun and effective “kill switch” in the usual position of the three-way selector puts plenty of new tricks up this BFG’s sleeve, while the inclusion of a pair of pickups that represent the best of Gibson’s innovative history provides a surprisingly wide range of sweet and snarling voices. Wrap it all in a stunning Gator Green nitrocellulose finish complemented by black-plated hardware, a green Gibson logo, and a markerless fingerboard, and you’ve got a stunning new addition to the Les Paul BFG family.

Like every great Les Paul Standard-styled Gibson, the Les Paul BFG Gator pairs the carved maple top and mahogany body (chambered for improved weight and resonance) that have helped to make the design legendary since 1952, while a glued-in mahogany neck with rounded “Studio” profile and a 22-fret rosewood fingerboard ensure optimum playability. While the BFG is traditionally a no-frills model with minimal adornments, a set of genuine wood control knobs adds an extra touch of class to this guitar and beautifully complements the three-dimensional “gator scales” look of the grain-textured satin finish. Grover® tuners, a Tune-o-matic bridge, a wraparound tailpiece, and a PLEK-cut Corian nut keep it all solid and singing with sustain, and translucent control plates round back let you see what’s going on under the hood.

The hot, beating heart of the Les Paul BFG Gator is found in its ingenious combination of two of Gibson’s most popular pickups of all time. A P-90 in the neck position yields all the biting, edgy, fat single-coil tones that have made this pickup a favorite since the 1940s. In the bridge position, a BurstBucker 3 presents classic PAF-style clarity and depth, with a little extra oomph when you need it, courtesy of slightly overwound coils, which are also wax potted to avoid microphonic squeal at high volume levels. Both pickups are made with genuine Alnico magnets (Alnico V in the P-90, Alnico II in the BB3), and the pair is routed through a network of independent volume controls, master tone control, three-way toggle switch. As a fun bonus, there’s also a “kill switch” mounted in the usual upper-bout selector switch position, handy for dramatic stutter and chopper effects.

Wrestle it into a padded Gibson gigbag with owner’s manual, adjustment literature, and Gibson’s Limited Lifetime Warranty and 24/7/365 Customer Service, and you’ve got one of the meanest and meatiest guitar packages available—the Les Paul BFG Gator, only from Gibson USA.

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