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AXL Badwater Dual Pickup 1216 Electric Guitar, Antique Brown

admin — Thu, 11 Mar 2010 16:36:13 +0000

The Badwater 1216 (AL-820) is built with a set rock maple neck, 2 EMG-designed Alnico humbuckers and a classic-style single cutaway design. The guitarâ��s rosewood fretboard helps deliver a warm, thick tone. The scale length is a traditional 24 3/4â�� for vintage punch. Each 1216 guitar body has been distressed individually by the AXL workshop, so no two are alike. The 1216 comes with carefully distressed pickguard, tone and volume knobs, and anodized tuning machines, bridge assembly and strap buttons for a unique look and vintage feel.

Gibson J-45 Custom Acoustic-Electric Guitar, Antique Natural

admin — Sat, 27 Feb 2010 04:24:44 +0000

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

Gibson J-45 Standard Acoustic-Electric Guitar, Antique Natural

admin — Sat, 27 Feb 2010 04:24:44 +0000

Gibson J-45 Rosewood Modern Classic Acoustic-Electric Guitar, Antique Natural Gold Hardware

admin — Sat, 27 Feb 2010 04:24:44 +0000

The Gibson J-45 Rosewood Modern Classic Acoustic-Electric Guitar has even tone across the strings and excellent sustain. The J-45 has a solid rosewood back and sides providing extra sonic impact to complement the gorgeous suburst-finished, round-shouldered body. Gold keystone tuners, ebony fretboard with dot inlays, solid spruce top, ebony belly bridge, mahogany neck, and transducer pickup. Gibson includes a deluxe hardshell case with the Rosewood Modern Classic J-45 guitar.

Gibson J-45 Vine Rosewood Antique Natural Acoustic Guitar

admin — Sat, 27 Feb 2010 04:24:44 +0000

Gibson J-200 Custom Acoustic-Electric Guitar, Antique Natural

admin — Sat, 27 Feb 2010 04:21:11 +0000


The Gibson J-200 Custom is the ultimate in visual beauty and tonal qualityâ��the absolute finest of Gibsonâ��s storied Super Jumbo acoustic guitars. This custom â��King of the Flat Topsâ�� takes Gibson Acoustics to another dimension, yet stays true to the time-tested excellence of the legendary J-200.

Gibson Firebird Custom Acoustic Guitar, Antique Cherry

admin — Sat, 27 Feb 2010 04:21:11 +0000

The combination of Gibsonâ��s traditional square-shouldered dreadnought body, coupled with the bright, crisp tone of the maple back and sides, gives Gibson Acousticâ��s Firebird Custom a rich, balanced tone all its own. Its appearance is no less stunning, sporting a premium AAA-grade Sitka spruce top, with back and sides made from solid AAA-grade quilted Western maple with a Cherry finish.

Gibson Songwriter Deluxe Custom EC Acoustic-Electric Guitar, Antique Natural

admin — Sat, 27 Feb 2010 04:21:11 +0000

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

Gibson Custom ’57 Les Paul Goldtop Reissue Electric Guitar, Antique Gold

admin — Sat, 27 Feb 2010 04:21:11 +0000

The '57 Les Paul Goldtop Reissue Electric Guitar is the quintessential Les Paul at its finest. It's Custom Shop crafted to be accurate to '57 specifications in every detail including the CTS pots and bumblebee capacitors. It was the first Paul to feature humbucking pickups, and this one comes equipped with BurstBuckers. Carved maple top, mahogany back, and one-piece mahogany neck with the '57 profile and the original extended tenon joint. It features binding on body and neck, nickel hardware, an original ABR-1 Tune-O-Matic bridge, and the trademark antique gold finish. Includes Gibson Custom Shop hardshell case.

Gibson ES-335 Block Inlay Electric Guitar, Antique Red

admin — Sat, 27 Feb 2010 04:17:31 +0000

Chuck Berry, B.B. King, and other formative players in the evolving early days of rock and electric blues had already immortalized the Gibson ES-335 when the company's engineers fine-tuned the guitar in 1963. Today's Custom Shop ES-335 Block Inlay Reissue model reflects those original refinements, which enhance the guitar's playability and beauty. Countless music legends have immortalized Gibson's ES-335. Two '57 Classic humbucking pickups and stopbar tailpiece. Headstock with rich holly veneer and vintage tulip style tuners. History The popularity of the ES-335 was already secure and continued to grow, but in1963 when the first generation of the revamped ES-335s left Gibson's Kalamazoo factory sales peaked. That year the dots on the fingerboard of the standard ES-335 inaugurated in 1958 were replaced with the block inlays that give this Custom Shop model its name. They provided easier visibility in live playing situations, where lighting is often less than ideal, and an extra touch of eye-catching class. The other refinement to the '63 was the use of the tapered, thinner-profile neck common to Gibson's built in the '60s. Near-perfect Recreation The ES-335 Block Inlay guitars made by Gibson's Custom Shop in Memphis today benefit from the exacting standards of contemporary guitar building technology, resulting in a much more consistent instrument than those that originally rolled off the assembly line. And before each finished guitar leaves the Custom Shop floor it is examined and adjusted by one of the company's state-of-the-art Pleck machines, so it leaves set up for maximum playability. To recreate a vintage look, the plain maple top, back, and rims of the ES-335 Block Inlay come finished in antique red or antique teaburst. Like the Fat Neck model, it has a lightweight maple centerblock to provide its classic semi-hollowbody resonant and tonal characteristics. Unlike the all-maple 1963 ES-335 Block reissue model, the ES-335 Block Inlay has a three-ply maple/poplar/maple body construction. There's single-ply cream binding on the top and back and a five-ply '63 style long pickguard. The hardware is nickel, with an ABR bridge and stop tailpiece. The ES-355 Block Inlay models' neck is one-piece mahogany shaped to a 1963 slim taper profile that's 24-inch scale length and 1 11/16th-inches wide at the nut. The guitar has a 22-fret rosewood fingerboard with pearloid small block inlays and single-ply cream binding. The tuners are vintage tulip shaped, handsomely complimenting the headstock. Unlike the Custom Shop 1963 ES-335 Block reissue, which has a pair of Gibson '57 Classic humbuckers, the ES-335 Block Inlay comes with Burstbucker Pro 1 and 2 pickups. They are controlled by two volume pots, two tone pots, and a three-way selector switch. And these guitars leave the factory strung with Gibson Brite Wire .010 strings inside a black levant case, to enhance their historic feel and presence. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not "seal" wood in an airtight shell--as a poly finish does--and allows the wood to breathe and age properly. All VOS (Vintage Original Spec) series guitars will use a proprietary process that includes unique steps for staining, wet-sanding, and hand-rubbing; subsequently the guitars reflect what a well-cared for 40-year-old guitar looks like. The result is a remarkable patina that will delight even the most discriminating enthusiast.