If there’s one thing you can always count on, it’s that July 4th means big guitar deals, and this year, it’s the Les Paul that steals the show. Whether you’re a longtime fan or just curious to see what all the fuss is about with this famous singlecut, now is the time to grab one and add it to your collection.

This stunning guitar shaped the sound of rock ‘n’ roll and has been the axe of choice for some of music’s biggest icons, but unfortunately, they’re usually not cheap!

The good news is I’ve tracked down some sweet Les Paul deals at shops like Guitar Center, Sweetwater and Musician’s Friend, with savings up to $899 off. That’s not just for the fancy Gibsons, either. Yes, I’m a huge Gibson fan (13 out of my 25+ guitars are from them!), but I’ve got a soft spot for Epiphone, too. They’re making some seriously awesome guitars these days that combine classic looks and modern appointments, and they are way more wallet-friendly.

So, whether you’re looking to score your first Les Paul or add another beauty to your collection, check out my favorite Epiphone and Gibson deals from the July 4th sales below.

Few guitarists have a more instantly recognizable sound than Slash. From his legendary solos in Guns N’ Roses to the iconic riffs of Velvet Revolver and, of course, the modern classic anthems with the Conspirators, his tone has become one of the most imitated in rock history. Now, the good news is that getting close to it is more achievable than you might think.

At the heart of his sound is a simple but powerful formula: a Les Paul, a cranked tube amp, and a set of hot humbuckers. Slash has always kept his rig relatively straightforward, letting the guitar and amp do the heavy lifting rather than relying on a pedalboard full of effects. That’s actually great news for anyone trying to chase his tone regardless of budget.

In this collection, and with the help of Guitar Center's Slash gear round-up, we’ve curated this shopping list of everything from his signature Gibson and Epiphone Les Pauls to his go-to Seymour Duncan pickups, Ernie Ball strings, and Dunlop picks. We’ve also covered his current amp setup, including his go-to pedals. So, whether you’re after that raw Appetite-era crunch or his smoother, bluesier modern tone, there’s something here for every budget.

Guitars

To nail Slash's tone, you'll need a Les Paul. Below, I've picked out a few of his signature Gibson models, from the AFD to Jessica, plus some budget-friendly Epiphone options that'll get you surprisingly close to his sound.

That said, Slash's relationship with the Les Paul isn't the whole story. Over the years, he's reached for a scarlet B.C. Rich, a Korina Flying V, and a J-45 acoustic, so I've included those at various price points too.

Amps & Effects

Slash’s approach to amps and effects is refreshingly simple: minimal pedals, a cranked tube stack, and let the guitar do the talking.

For most of his career, Slash was synonymous with Marshall, spending over 30 years with the brand and releasing multiple signature heads. That changed in 2023 when he partnered with Magnatone, a move that surprised the guitar world. The switch came after he grew disillusioned with the consistency of his Marshall tone and stumbled across a Magnatone M-80 50-watt combo, reportedly passed on to him by GNR bandmate Richard Fortus.

He ended up using it for his entire blues record, Orgy of the Damned, and later took the 50-watt combos on a full GNR world tour in place of his Marshalls. This, in turn, resulted in his own signature models with the company.

Accessories

It could be argued that tone starts before you ever plug in. That’s why I've included his Ernie Ball signature strings and his go-to Dunlop picks to get you closer to the Slash sound without breaking the bank.

On the string front, Slash has used Ernie Ball his entire career, and his signature set is a .011-.048 gauge Slinky. These are heavier than most players use on an LP scale length, which certainly contributes to that thick, meaty tone. The sets use Paradigm core wire wound with nickel-plated steel and reinforced ball ends for better tuning stability and durability on the road.

Rounding this section out are Seymour Duncan’s Slash signature pickups. Slash has relied on Seymour Duncan for decades, and there are now three generations to choose from. The original APH-2 uses an Alnico 2 magnet to nail that Appetite for Destruction crunch. The 2.0 is a hotter wind of the same formula, for more output and attack. The newest 3.0, developed for Slash’s SG at Ozzy Osbourne’s Back to the Beginning show, steps up to Alnico 5 magnets for tighter lows and more immediate attack. They are raunchier, but still clear and punchy. All three are hand-built in Santa Barbara and are the exact same pickups Slash’s tech installs in his guitars.

Joe Bonamassa has urged his fellow guitar players to “read the room” when jamming with others, and how, in those moments, “a guitarist’s greatest asset” shouldn’t be ignored.

The guitarist has collaborated with Epiphone for the 13th time, recreating his “extremely rare” 1959 Les Paul Custom. Very few left its Kalamazoo factory that year with a Bigsby vibrato and twin humbuckers, and his, sourced from a little old lady in Pennsylvania, is one of them.

“The family didn't realize it was a very special, rare variant,” he says. “There's maybe 20 or less in existence.”

Speaking to Gibson Gear Guide’s Dinesh Lekhraj in a video to promote the sub-$1K electric guitar, Bonamassa was in highly quotable form, offering sage advice while simultaneously rallying against outdated rock-star attitudes.

“As a player, you’ve got to read the room,” he begins. “If you're getting called up [onstage] for a jam, or called up for one song, there shouldn't be a technical team in tow with a pedalboard the size of a Fiat. You don’t need an F1 pit crew for a three-minute jam.

“Just plug straight in, man,” he adds. “We're not making our careers here. Just use the volume and tone controls, and figure it out.”

Lekhraj responds by recalling Bonamassa’s attitude for these Epiphone promo shoots. He says Bonamassa plugs straight into an amp already in the room — in this case, a Mesa/Boogie combo — and quickly dials in a tone. He doesn’t get hung up on minor details.

“I think we get caught up in, ‘Is the tone right? Is the volume right?’” Lekhraj offers.

“Exactly,” Bonamassa concurs. “And if you want a Tube Screamer or something like that, great. Stick it on the amp and go.

“I’ve been onstage with five or more guitarists many times, and do you know what your greatest asset is? The volume control. When somebody's soloing and there are five guitar players, it shouldn't be on.

“Leave some space,” he continues, pausing for emphasis. “And then when they point to you, go for it. You wanna make music for music's sake and not your sake. The days of those Ralph Macchio and Steve Vai duels are long gone. It is so unappealing to watch that go down.

As ever, though, he has an exception to the rule.

“The only time I'll do it is when I get onstage with Eric Gales,” he confesses. “I'll do it, and it's fun because I love the man and we have such a mutual respect for one another. We both know we're going to get a black eye and a bloody nose. We're going for it, and the crowd loves it.

“But it serves a purpose because it’s a spectacle, it’s P.T. Barnum juggling a polar bear on a unicycle. But in other situations, you want to be respectful to your fellow players.”

Elsewhere, Bonamassa has revealed the unlikely origin story of one of his most prized Les Pauls, how he still lives by the advice he got from Leslie West in his younger days, and has recalled the pinch-me moment when Ozzy Osbourne asked to collaborate with him.

The new Epiphone Joe Bonamassa 1959 Les Paul Custom is available now for $999, and follows last year's hugely popular Copper Iridescent Les Paul Standard.

John Mayall deserves credit for bringing some great guitarists to the fore — Eric Clapton, Peter Green and Mick Taylor, to name a few.

But Mayall can also take a bow for bringing attention to a particular guitar model. Not the Gibson Les Paul Standard, which had been the choice of Clapton, Green and Taylor, but rather the more humble Epiphone Casino. And the band he did it with? None other than the Beatles.

As Paul McCartney related upon Mayall’s death on July 22, 2024, he and Mayall were close friends in the early 1960s.

“We would meet at one of the late-night music clubs and often go back to his house, where he had a huge and glorious collection of records,” McCartney wrote on his website. “During these moments he became a mentor and would educate me on a lot of the blues guitarists playing at the time.

“I would lounge back in the armchair, and he would play tracks by people like B.B. King, Buddy Guy, Albert King and many other great players. He would then play me tracks by Eric Clapton, who was later in his band, the Bluesbreakers. The more he played, the more I could see the links between all these great guitarists. Besides being very entertaining, it was a great education noticing the similarities between these stunning players.”

It was during one of those visits that Mayall turned McCartney onto the merits of the hollowbody electric guitar.

“I showed Paul my hollowbody guitar that I’d bought when I was in the army in Japan in 1955,” Mayall told Andy Babiuk in his book Beatles Gear. “When people get together and listen to records, they talk about all kinds of things related to the music, so obviously we must have touched upon the instruments and it struck home. He got a hollowbody after to get that tone.”

As McCartney explained, Mayall’s tutelage at those sessions convinced him to go for a Casino. “He gave me a little evening’s education. I was turned on after that and bought an Epiphone.”

McCartney acquired his 1962 sunburst Casino in late 1964. It was a right-handed model with a Bigsby vibrato, and he subsequently had it altered for left-hand playing by changing the nut and bridge and adding a strap button to the right-hand horn.

McCartney has at times forgotten the source of his Casino inspiration. In one telling, he credited Jimi Hendrix for turning him on to using feedback, saying, “I went into a shop on Charing Cross Road and asked the guys if they had a guitar that would feed back, because I was very much into Jimi Hendrix and that kind of thing.”

The only problem with that story? At the time McCartney acquired his Casino, Jimi Hendrix was still an unknown guitarist playing in Little Richards' band, the Upsetters, under the alias Maurice James.

Regardless, once McCartney purchased his Casino, he quickly put it to use on the Beatles’ album Help!, playing lead guitar with it on "The Night Before," “Another Girl” and “Ticket to Ride.” Later tracks that feature his handiwork on the Casino include his stunning Indian-inspired solo on Revolver’s “Taxman,” his dual-guitar leads with Harrison on that album’s track “And Your Bird Can Sing,” the Sgt. Pepper’s cut “Good Morning, Good Morning,” and of course the guitar solos near the conclusion of “The End,” from Abbey Road.

Once McCartney had demonstrated the merits of the hollowbody electric guitar, it didn’t take long for his bandmates John Lennon and George Harrison to purchase their own sunburst Casinos in spring 1966, either prior to or during the recording sessions for Revolver. Both were 1965 Casinos with a sunburst finish, only Harrison's had a Bigsby, while Lennon’s wore the standard Epiphone trapeze tailpiece.

Harrison used his Casino briefly in 1966, and can be seen with it in photos from the group’s U.S. tour that August, though he is more commonly seen playing a 1964 Gibson SG Standard during this time.

However, Lennon and the instrument became inseparable. His Casino was his main guitar through the remainder of the Beatles and into his work with the Plastic Ono Band. In 1968, he and Harrison sanded off the finish on their Casinos on the advice of British folk singer Donovan, who told them it would make the guitars sound better. Lennon apparently loved the results.

He can be seen playing his stripped Casino at the Rolling Stone’s Rock and Roll Circus with the Dirty Mac (whose members included Eric Clapton, Keith Richards and Jimi Hendrix Experience drummer Mitch Mitchell), through the sessions for Let It Be, as seen in the 2021 documentary The Beatles: Get Back, and with the Plastic Ono Band in 1969.

As for McCartney, the Casino remains his favorite to this day. Questioned about it in 1997, he said, “If I had to choose one electric guitar, it would be that guy.”

Oasis guitarist Noel Gallagher said his own son called him out for his inability to shred. His response to the slight explains how guitar playing has changed in the decades since Oasis first came storming onto the Brit-rock scene.

Speaking to Gibson TV, Gallagher said young players today have more tools and information available to them than when he first wrestled with an electric guitar.

“I've seen young kids playing instruments, and they're great,” he says. “There's a lot more information out there now when you're starting, for equipment, what it does and what you should be doing. Tips for this, videos for that. They'd have a sleepless night thinking about what we used to be. I don't know how we got by.”

But their advanced prowess on the instrument doesn't necessarily translate into a career.

“My lad will say ‘You can’t play guitar like that,’ and I’m like ‘Thank the fucking Lord!’ because if I could play guitar like that, you know what I’d be doing right now? Playing guitar like that!

“I wouldn’t be going, 'Maybe...' [sings the first word of "Live Forever"]. You can go anywhere with that.”

As Gallagher tells Gibson TV, Oasis were five years into their career when they played an immense sold-out show at Knebworth House, in the U.K. Yet he was still a novice when it came to understanding the intricacies of his rig.

""Ever seen the shot from the stage at Knebworth?" he asks. "I've got a pedalboard that's on a piece of plywood. It's got a delay pedal on it and a tuner.

"125 000 people. And I didn't even have a proper pedalboard!

“Somebody said to me, ‘Why is the bass, middle and treble all on 10?’ ‘Because it all goes to 10?’ And he’s like, ‘Try turning the bass down.’ I was like, ‘Don't fucking touch it! It sounds great.’

“I was 20 years into it before I went, ‘Middle… Oh, so the louder you turn it up….’ Why didn’t somebody tell me that 20 years ago?”

That iconic Knebworth performance helped Oasis ascend to rock's highest peaks. But following 1997's Be Here Now, Gallagher set about overhauling his rig, plywood pedalboard included.

Speaking to Guitar Player in 2000 to promote the release of the group's 2000 album, Standing on the Shoulder of Giants, he explained how his go-to Marshall amps weren't doing it for him anymore.

“No disrespect to Marshalls, but they have one sound, and that's just about it. They're either really loud, or really quiet. But I found that each Fender amp has its own character.”

Gallagher's trusty Epiphone Casino wasn't out of the firing line either. The guitarist was toting "a really cool, wine-red '80s Les Paul Deluxe, a Fender Strat, and a '60s Telecaster that Johnny Depp bought me for my 30th birthday."

Shredding, though, was left to other bands. Oasis's appeal has always been rooted in simplicity, chord progressions that anyone can get behind, and a rock and roll swagger for the masses.

But there is perhaps a semblance of jealousy aimed at the current crop of all-knowing guitarists. In a recent post to X, he revealed “I’ve got no control over the music I make. I’m not adept enough as a musician. All I can do is sit with a guitar and wait in hope for something to happen.

“I call it going fishing… I sit by the river, with the guitar and if I get a catch, great! And that’s what I do, it comes from within.”

Epiphone’s current collection of guitars offers a compelling blend of timeless designs and contemporary features, from expertly crafted replicas of iconic Gibson models to innovative new additions. For those starting their musical journey, there are also excellent options tailored for beginners. In my opinion, Guitar Center’s huge early Black Friday sale makes these models even more enticing, with savings of up to $150 on select Epiphone guitars, showcasing the best of what the brand has to offer. I’ve picked four of my favorites from the sale below.

The most significant discount in Guitar Center’s sale is a substantial $150 off the iconic Les Paul, specifically the Epiphone Les Paul Traditional Pro IV. Available in four striking finishes – Worn Metallic Gold, Worn Ebony, Worn Wine Red, and Worn Pacific Blue – this model is ideal for players seeking modern features. Despite its 'Traditional' designation, the Pro IV offers contemporary touches such as coil-splitting, a treble bleed circuit, and locking tuners.

Equipped with Alnico Classic humbuckers, it delivers the rich, dynamic tone you’d expect from a humbucker, while the coil-split provides access to crisp single-coil tones. Whether you're upgrading from a beginner’s model or seeking a versatile workhorse, this Black Friday deal is one not to be missed.

At Guitar Player we are big fans of ES-335s and luckily for us (and you) there are two standout ES-335 models that are also featured in the sale, both offering generous discounts. The first, in a striking Olive Drab finish, is arguably one of the most eye-catching options available. The addition of a Bigsby tremolo adds an extra layer of flair, and with $120 off, it's a perfect opportunity for those wanting to add a Bigsby to their collection.

The second model, in a timeless Cherry finish with a figured body, boasts a more understated aesthetic – but its true appeal lies in the USA Gibson humbuckers it’s equipped with. At $719, with a $130 discount, this is likely the most affordable way to own a guitar with genuine Gibson pickups. We’d be surprised if there was a more affordable Black Friday deal featuring Gibson hardware.

For beginners, the SG Special-I is an excellent choice, now with $50 off its usual price. Offering great value for money, this model comes equipped with two humbuckers, making it perfect for those looking to explore classic rock, blues, or metal. With its full-size body, it's suitable for both younger players and adults alike. Lightweight, well-constructed, and visually striking, it’s a step up from the clunky guitars many of us had to wrestle with when we were starting out.

With many of these models being phased out for a new Epiphone catalog, combined with fantastic savings during Guitar Center’s Black Friday sale, this could be your last chance to own one of these exceptional instruments.

Keep tabs on our Black Friday guitar deals page for even more fantastic offers for guitarists.

Explore more Black Friday deals

• Sweetwater: Save a massive up to 60% off
• Musician's Friend: Up to 50% off Holiday Kick-off
• Fender: Shop Squier & beyond up to 20% off
• Positive Grid: Major Spark savings

Joe Bonamassa has put his name on his 12th guitar collaboration with Epiphone: the 1955 Les Paul Standard, a guitar inspired by both vintage and contemporary blues rock greats. The model is part of the guitarist's Artist Series, a partnership between Bonamassa and Epiphone that typically produces a new guitar each year.

This time, however, Bonamassa has thrown a couple of left curves into the mix.

Notably, the 1955 Les Paul Standard is the first guitar in the series to feature P90 pickups. It follows in the wake of a 1962 ES-335 reissue based on one of the guitarist's most cherished six-strings, and a 1963 SG Custom designed for those priced out of buying a vintage Gibson

Those previous creations have featured humbuckers — the SG Custom even had three. But Bonamassa says he was intrigued to pursue a P90 model and points to players like Leslie West, Blackberry Smoke's Charlie Starr and Jared James Nichols as examples of guitarists who have had success with the pickup.

“I'm known as a humbucking player, but I own a lot of P90 Les Pauls and they clean up really well, ” he says. “Most people who are real dyed-in-the-wool Gibson people will say behind closed doors that their favorite pickup is a P90. They're cleaner. There's a sparkle on top that a humbucking pickup doesn't get.”

In addition, the Epiphone 1955 Les Paul Standard features Gibson's rare Copper Iridescent finish — which makes sense when you learn that the guitar is modeled on two 1955 Copper Iridescent Les Pauls that Bonamassa owns (he notes in the video below that a third example was recently discovered).

Although the colorway is little known today, Gibson introduced it in 1955 and offered it as a standard finish option for some time. The color, which changes from brown to copper, depending on the light, is one of Bonamassa's favorites. He even has a ‘72 Les Paul in the same finish — evidence that it was no flash-in-the-pan trend. He laments “that there's just not many” examples and praises Epiphone for its work “tracking down the original paint color” for the new model.

In addition, the 1955 Les Paul Standard comes with the usual Epiphone Les Paul trimmings and a few choice amendments, including a mahogany body topped with bound maple, and a bound laurel fretboard with 22 medium jumbo frets and pearloid trapezoid inlays. Interestingly, the guitar features a ‘59-inspired rounded C-profile mahogany neck joined to the body with a long tenon neck joint.

As for those pickups, they're a pair of Epiphone P90 Pro Soapbars and are paired with Copper Iridescent speed knobs. Hardware includes Epiphone Deluxe tuners, a LockTone Tune-o-matic bridge and stopbar, and a '59 Les Paul no-bevel pickguard to match the soapbar pickups.

Bonamassa says he's “happy we’ve done a P90 guitar, because it was long overdue.” The guitar's price point — $849, including hardshell case — also fits with his desire to create an affordable instrument. “I wanted to go back to making guitars that were under $900 with a case," he says. "These are ready to rock, you can rule the world with 'em.”

Head to Epiphone to learn more.

Epiphone, Gibson's Custom Shop, and the Jimi Hendrix family estate have come together for a brand new “Love Drops” Flying V in honor of “a player who took the instrument to places no one else had ever gone before.”

The six-string is an Inspired by Gibson recreation of the instrument that Hendrix frequently wielded between 1967-69, and arrives on the market with a $1,499 price tag.

Hendrix had customized what was originally a Sunburst model that had been re-finished Ebony, adorning it with hand-painted psychedelic graphics. Those Hendrix originals have been carefully recreated.

They decorate a mahogany body and one-piece mahogany neck, sculpted into a C-profile and topped with a laurel fretboard. It comes stocked with 22 medium jumbo frets.

Hardware choices include Epiphone Deluxe tuners and a short Maestro Vibrola bridge, while an Inspired by Gibson custom logo and Hendrix’s signature can be found on the back of its headstock.

Epiphone has talked up its “first-rate” electronics, with a pair of Gibson Custombucker humbuckers – rather than cheaper Epiphone-branded pickups found in standard issue Epiphone Vs – making for a fairly premium appointment.

They are wired to CTS potentiometers, a Mallory tone capacitor, and a three-way pickup switch, and the guitar also comes with a hardshell case that sports Inspired by Gibson Custom and Authentic Hendrix logos.

There have been a number of legendary guitar replicas produced under the Gibson brand umbrella in recent years, from Jeff Beck’s 1959 ‘YardBurst’ Les Paul Standard to Jason Isbell's "Red Eye" Les Paul, formerly owned by Lynyrd Skynyrd's Ed King. Those guitars, released as Gibson Custom Shop models, fetched $10,000 and $22,000 apiece so it's nice to see this Hendrix replica coming in at a more accessible price, via the Epiphone family.

It also comes in at a fraction of the $10,000 a Gibson Custom Hendrix V cost players when it was released in 2020.

Of course, Hendrix was famed for his employment of a right-handed Fender Stratocaster that he played left-handed, but he was known to pick up other instruments. His early '60s-Era Japanese Sunburst guitar, which returned to auction in 2022, and his love for a Gibson Flying V are two fine examples.

The new Epiphone Inspired by Gibson Jimi Hendrix Love Drops Flying V costs $1,499 and is available today as right- and left-handed versions.

Head to Epiphone for more details.

Earlier this year a rare recording of Jimi Hendrix playing with Little Richard, akin to “discovering a musical holy grail,” was sold at auction in May. Hendrix was part of the blues great's band long before becoming a household name.

British artist Yungblud has become the latest signature Epiphone artist, with the two joining forces for a recreation of his beloved ‘64 SG Junior.

The 26-year-old pop-punk and alt-rock guitarist, from Yorkshire, England, has gained fame for his energetic stage presence and voice-of-the-people music.

His music has consistently tackled issues close to the hearts of his predominantly Gen Z audience, such as assault, troubled upbringings, and political corruption, which has earned him a fanbase millions strong across the globe. Epiphone, naturally, wishes to ingratiate itself with that growing community.

Releasing as a limited edition run, the mahogany body electric guitar has a glued-in, SlimTaper mahogany neck with a C-profile and 22-fret, medium jumbo laurel fretboard, mirroring Yungblud’s workhorse.

Being a Junior model, its electronics are typically simple, offering a single Dogear Epiphone P-90 Pro pickup in the bridge position and controls for Volume and Tone.

It also features Epiphone Deluxe Vintage tuners and a Graph Tech nut for tuning stability – a crucial factor for Yungblud’s relentless performances.

At the other end, the strings are anchored by a compensated wraparound bridge for prolonged sustain.

The SG proper is an all-time classic, favored by Angus Young, avid collector Pete Townshend, and Sister Rosetta Tharpe. Yet, unlike the Les Paul Junior, the stripped-back version of the SG hasn’t seen quite as much love over the years, making this a unique signature build.

Its place away from the limelight provided much of the appeal of the SG Junior for Yungblud.

“Guitars and rock music have always been a fundamental part of my life,” he says, adding that they are “literally my education. I grew up on the counter of a guitar shop, and I’ve been dusting them since I was three years old.

“The reason why I play a White ‘64 SG Junior is because, growing up, [the] musicians who were important in my life were Angus Young and Billie Joe Armstrong.

“I was lucky because I found a guitar that represented both parts of my inspiration and yet has been famously played by no one but me. This SG Junior is entirely my own, and it already looks fucking iconic.”

An Epiphone hardshell case is included with each guitar, and the case boasts a hot pink interior with a Yungblud die-cut bumper sticker found inside.

Echoing Yungblud’s decisions to make all of his ventures financially accessible for all, the guitar is priced at $599.

Head to Epiphone for more details.

Epiphone’s latest limited-edition release focuses on a particular 1963 Gibson SG Custom that was special-ordered and obviously treasured by its original owner and is now part of Joe Bonamassa’s collection of prized vintage guitars. 

Finished in Dark Cherry Red to match the rare color worn by the original guitar, the JB 1963 SG Custom features a mahogany body and a glued-in neck that’s carved in a SlimTaper C profile that melds into a smoothly contoured heel unique to this guitar. 

As such, the playing feel is very comfortable and bending strings is glassy smooth, courtesy of an ebony fingerboard with 22 medium-jumbo frets that offer even crowns, a silky polish and nicely beveled tips. 

A white Graph Tech nut with rounded corners enhances it all and helps make the guitar inspiring to pick up and play. The SG Custom was a class act in 1963, and Epiphone’s version is every bit as appealing. 

The attention to detail is impressive, as evidenced by the flawless multi-ply binding and split-diamond mother-of-pearl inlay on the headstock, and by the single-ply binding around the fretboard, which has mother-of-pearl block inlays that are set without a trace of epoxy visible. 

Other details include a white three-ply pickguard and a plastic “Custom” badge between the neck pickup and the end of the fretboard. 

A plush-lined hardshell case and a booklet with a certificate of authenticity sporting Bonamassa’s signature are included. 

The gold-plated hardware consists of Kluson Waffleback tuners, a LockTone Tune-o-matic bridge with nylon saddles, and an engraved Maestro Vibrola tailpiece with an arm that rides in a nylon bushing and can fold out of the way when not being used.

The action of the unit is smooth and positive, and it didn’t knock the guitar excessively out of tune when used to its limits. The long tailpiece likely contributes to the SG Custom’s piano-like sustain too, and the guitar sounds lively and resonant when played acoustically. 

In the electronics department, Epiphone ProBucker 2 pickups with alnico poles are fitted in the neck and middle positions, along with a ProBucker 3 at the bridge. A three-way toggle switch selects neck, middle-plusbridge and bridge, and it’s noteworthy that the dual-pickup combination is wired in-phase, unlike most SG Customs and Black Beauty Les Pauls, according to Bonamassa. 

Far from sounding nasal, the tones are full and have a cool twanginess that’s very usable since you’re able to blend and EQ things to your heart’s content with the dual volume and tone controls. 

The neck and bridge pickups offer everything from rich, clean jazzy sounds to meaty rock tones when revved up with distortion from pedals or pushed straight into an amp for classic PAF-style grind that’s controllable from the guitar for clean and dirty tones. 

The CTS pots and Mallory caps used in the circuit certainly contribute to the guitar’s sound and the fact that it doesn’t lose crispness and definition when you turn down, or get muddy when you back off the tone knobs. 

Epiphone’s Joe Bonamassa 1963 SG Custom is a great guitar that plays and sounds wonderful and looks like a million bucks. An obvious choice for anyone who’s priced out of the market for a vintage Gibson, it nails all the points that made the top-shelf SG of the time such an amazing guitar, and it is well deserving of an Editors’ Pick Award.

Specifications

• NUT Graph Tech, 1.692” wide 
• NECK Mahogany, SlimTaper C profile 
• FRETBOARD Ebony, 24 3/4” scale, 12” radius 
• FRETS 22 medium jumbo 
• TUNERS Kluson Waffleback 
• BODY Mahogany 
• BRIDGE LockTone Tune-o-matic with nylon saddles, Maestro Vibrola tailpiece 
• PICKUPS Epiphone ProBucker 2 (neck and middle) ProBucker 3 (bridge) 
• CONTROLS Two volume, two tone, three-way pickup switch 
• EXTRAS CTS potentiometers, Mallory caps, Switchcraft pickup selector and output jack. Hard case with plush goldenrod interior and “Nerdville” graphics. Joe Bonamassa certificate of authenticity 
• FACTORY STRINGS Gibson, .010–.046 
• WEIGHT 7.94 lbs (as tested) 
• BUILT China

For more information visit Epiphone

This article originally appeared in the November 2005 issue of Guitar Player.

If you were lucky enough to be Paul McCartney in 2005, how the hell would you approach a new album? Would you avoid competing with your legend, and just coast on your rep? Would you pitch and churn in a vortex of option anxiety, knowing that you could easily write fabulous pop songs, kick-ass rockers, soaring ballads, cinematic underscores, or even a classical concerto? Are you even excited about being a musician anymore? 

Hell, you’ve been dragging yourself to recording studios, concert stages, television and movie facilities, charity events, and other celebrity functions for more than 40 years. You’ve seen it all, you’ve done it all, you’ve gotten tremendously rich, and you’re a “Sir“ for crying out loud! What could possibly still be driving you to sit all alone in a quiet room waiting for inspiration to boil up into your imagination? Well, who knows what your bogus McCartney reasons might be, but for the authentic and genuine Sir Paul, it’s all about love. 

Yep. That simultaneously goofy and deadly serious word that slithers its way through literature, movies, and countless Beatles songs. Paul McCartney still loves making music. And it ain’t just talk, luv. This September, the 63-year-old former Fab released his 20th post-Beatle album, Chaos and Creation in the Backyard, and launched his fastest-ever selling U.S. solo tour (some dates sold out in less than 20 minutes).

Chaos was recorded in London and Los Angeles during a two-year period with Radiohead and Beck producer Nigel Godrich, who was recommended by McCartney’s long-time studio main man, George Martin. (The legendary Sir George, who famously shepherded the Beatles, and whose recording career spans back to the direct-to-lacquer days, obviously listens to rock radio!) 

And lest you think McCartney has reached a point of artistic complacency, he remains passionate enough about his musical children to fight for their lives, as was the case when Godrich expressed disappointment in “Riding to Vanity Fair,” and suggested that the song be left off the album. He also agreed to play most of the instruments on the album after Godrich expressed a desire to cop a McCartney vibe (McCartney’s 1970 solo album where he famously tracked almost all the instruments himself at his home studio).

“Nigel had a clear idea of the record he wanted to make,“ explains McCartney, “and he started off by saying, ‘I want to make a record that’s you.’ We worked a week with my live band, but Nigel decided to take the approach of me playing most of the parts. ‘I’d like to hear you play drums,’ he’d say. So I talked to my band about it, and they said it was no problem if they didn’t play on the album. They were into whatever it took to make a good record, and they said they’d be happy to play the tracks live.“

So what happens when one of classic rock’s most astounding talents is guided by one of modern rock’s most cutting-edge production visionaries? Well, in a cagey sabotage of expectations, the culmination of the McCartney/Godrich collaboration is a spectacle of stark, exquisite simplicity. 

Godrich directed an extremely organic and uncluttered sonic spectrum for Chaos. As a result, every instrument stands out like a sentry, and supports McCartney’s still-beautiful and beguiling melodies. Nothing is wasted. Nothing is superfluous. There are no obvious production tricks, nor any bizarre effects or textures presented simply because they might sound hip for the next 15 minutes. 

All you get on the introspective Chaos is one astounding voice, 13 fantastic songs, a collection of evocative instrumental performances, and a heart full of good feelings.

Going into pre-production for the album, was it a surprise that Nigel wanted to pursue a very simple and natural approach – one that almost brought you back to the unfussy charm of your first solo album?

“It really did sneak up on me, but I figured that we were looking for some sort of direction, and it was good to get Nigel to make some of the key decisions. He definitely wanted to present the whole thing straight from the shoulder, and just document some good songs, some good singing, and some good playing. 

“Once I caught onto his plan, I realized that it was good. We’d done this sort of thing in the Beatles. It was either Revolver or Rubber Soul – I can’t remember which – where we outlawed echo to keep everything dry and really in your face. It just presented everything right there with no added cosmetics.

“For my part, my main contributions were the songs. I would bring in a tune, and if he didn’t like it, he’d just say, 'I’d rather not work on that one. What else have you got?' He was pretty tough, and at first I thought, 'Dear me, I’m not going to like this guy.' But, in actual fact, I respected his decisions – although there were a couple of songs that I fought for.“

For example?

“'Riding to Vanity Fair' is the main example. He wasn’t too keen on the first version of that song, but I could see something in there. I said, 'I’m not sure you’re right about this one, Nigel.' I didn’t quite understand what he didn’t like, so I said, 'Look, we’re going to make this work.' But up until a few weeks before we completed the album, the song still hadn’t made it. Eventually, I sat him down and asked, 'Tell me exactly what you don’t like about this.' 

“We went through it line by line, and we ended up completely rewriting the melody. It used to be much brighter, but Nigel thought it was too chirpy. So we took it to a different place by inserting a more moody melody in the second and third lines. That changed the nature of the song – I mean, we pretty much rewrote it – and it finally made the album.“

How did you approach the “Paul plays it all” tracks?

“It might be piano, guitar, bass, drums – that kind of order. But it varied every time, really. It came down to whatever we fancied, and if Nigel thought something was missing, we’d add a part later on. Some of the songs are very sparse on the drums, for example, and Nigel would sometimes add percussion to fill out parts. On 'How Kind of You' and 'Friends to Go' most of the song is just a bass drum. We didn’t bring in the whole kit until near the end of the song.“

That reminds me of when you played drums on the Wings album, Band on the Run. You also didn’t use the entire kit for some of those songs – which kind of weirded me out at the time – but those tunes still rocked.

“I’ve always thought it was an interesting approach to go for something unconventional regarding drums and rhythm tracks. In the ’60s, when the Beatles were quite experimental, we’d say to Ringo, 'Aw, man, didn’t you use that snare drum on the last track? Let’s not use it. Let’s get out a packing case, or hit the back of a chair or something.' But then things got sort of boring – a bit more straightforward – in the middle of the ’70s. 

“People would get a proper drum kit, and play traditional drums throughout a song, and you just had to be clever with the musical arrangements. I told Nigel, 'We’d also do things like playing tambourine on a chorus, stopping it for the verse in favor of handclaps or something, and then bringing in the tambourine again on the next chorus.' That way, you got the feeling of light and shade, and we did a lot of that on this record. 

“The more you listen to it, the more you’ll hear how things have been placed very carefully, yet they achieve the effect that we haven’t even thought about them. We tried to make it seem effortless. There are quite a few nice little layers on the record – colors that Nigel thought would fit sonically within a song without calling attention to themselves. As a result, I think the album sounds very earthy.“

How did you develop your guitar parts for the album?

“'Organic' was a word that came up quite a bit as we were working. I would normally track a song using the instrument I wrote it on. For example, 'Friends to Go' was written on my Martin, so I started there, and just sang the song.“

There are also some very beautiful and subtle electric guitar layers on that song.

“Well, what happened was that we fell in love all over again with my Epiphone Casino, which I played on a lot of Beatles records – the 'Paperback Writer' riff, the solo on 'Taxman,' and so on. It also feeds back nicely. Nigel always kept going back to it, saying, 'That is my favorite guitar in the world!'

“I’d just get a little variation in the color by using either the treble or bass pickup, and then I’d stick it into my Vox AC30 – so it’s really the old Beatles sound. Thank goodness for my Epiphone Casino. Where would I be on this record without it?

“Occasionally, I’d pull out my goldtop Les Paul to do something a little bit more thrashing, and Nigel would say, 'Uh, it’s a bit heavy rock.' I’d say, 'Yeah, I think that will work.' Well, he’d have none of that. I mean, it got to be a bit of a joke, because every time I’d pull out the heavy rock, he’d say 'no.' 

“It got to the point where I started to feel like some teenager trying to thrash in my bedroom, and daddy not letting me do it. But Nigel was right. The guitar sounds we recorded have a continuity that makes the album sound sort of holistic. You don’t feel like you’re going out of one room and into another. You just feel like you’re at Paul’s house.“

Given your ability to write in so many different genres, how do you discipline yourself to put a specific project in one stylistic place?

“I really do credit Nigel with doing that because, in a way, that’s a producer’s job. He has to take a look at what I’m doing and get enough variety, but, at the same time, to make a good album, everything must sound like it all came from the same hand so you feel like it’s not a patchwork quilt. There has to be something that pulls it all together, and I think that something is Nigel’s sound.“

Could you provide an example of how Nigel would encourage you to redirect a song that didn’t fit his view of the album’s vibe?

“'How Kind of You' was originally a jangly acoustic thing [sings the harmony], and Nigel said, 'Well, we can make it that way, and it will sound nice, but what if we tried a different production idea? What would you do if we didn’t use the acoustic?' We had a lot of organic, earthy instruments in the studio – including a really great pump organ. So I started pumping away on that, and it created an ocean of sound, rather than a deliberate rhythm. 

“Then, we added some piano loops, and it produced this feeling of the ocean kind of rippling with the sun dappling on it first thing in the morning. When I sang the song over that, it was slightly unearthly. Now, when we eventually brought in the guitar, it really made a difference. Instead of it being there from the beginning until the end, it’s like 'Oh! Here’s the guitar.'“

On that note, the solo on “Promise to You Girl” really jumps out of the mix. I don’t think many people would be so brave as to mix something that rude and dry so far up in the mix.

“You know, if Nigel likes something, he mixes it right forward. That takes nerve, but that’s Nigel’s nerve. The guitar I used for that solo was the Casino. I kept trying to use other guitars, but Nigel would say, 'You know what we should try, don’t you?' And I’d say, 'Casino?' 'Yep!' [Laughs]

“The other funny thing about mixing things so dry happened on 'Jenny Wren.' I had heard this low, mournful flute during Ravi Shankar’s bit at the [2002] Concert for George [Harrison]. The instrument turned out to be a duduk, and we decided we had to have that sound on 'Jenny Wren.' So this Venezuelan duduk player, Pedro Eustache, comes to the studio, asks for some reverb in the headphones, and does a great take. 

“During the playback, Nigel had the duduk absolutely flat and dry, and Pedro asked for some reverb. We said, 'No, Pedro – it’s beautiful as it is.' And that freaked him out! He said, 'No! You’ve got to have some reverb. That’s the loudest duduk I’ve ever heard!'“

On “Jenny Wren,” you employ a very individual fingerpicking style that pushes and pulls against your voice. What informed that approach?

“I should make up some great, glamorous story about that particular style, but it wouldn’t be true. The thing is, in our youth, the funky guys could fingerpick using all their fingers, and really do it right. John [Lennon] did that on 'Julia,' and he tried to show me how to fingerpick conventionally, but I could never quite do it. 

“Still, I wanted to write something in that style, so I originally wrote 'Blackbird' using simultaneous melody and bass lines. But here’s the thing: I just kind of strum with my index finger whilst I’m sort of holding down the other two notes. That’s what gets that particular sound, and it’s just something that developed because I couldn’t do a proper fingerpicking thing. 

“I wanted to revisit that style, so I used a similar approach on 'Jenny Wren.' Of course, on tour, I’d wear down the fingernail on my index finger until it drew blood. It was my wife, Heather, who suggested that I put on an acrylic nail. 'That’s what girls do,' she said. Well, that nail is a lifesaver.“

“The other thing about 'Jenny Wren' is that I’m playing my Epiphone Texan – the guitar I played 'Yesterday' on – which is permanently tuned down a tone. So I’m playing 'Jenny Wren' in C, which is more conducive for my guitar playing, but, with the tuning, the song is actually in Bb. It was the same with 'Yesterday.' I was playing in G, but the song was in F, which was a better key for my voice to sing that song in.“

The instrumental bonus track is a surprise. It sounds rough and ready – and it totally rocks – but it’s also very musical.

“Well, we were just looking at the puzzle of how to start an album, and we considered doing some sort of jam/noise thing for about a minute, and then go into the first song. That kind of thing takes the pressure off the first song. 

“So Nigel asked me if I could just go in and make something up. I agreed to the challenge, and I got on the piano and tried to thrash something out that might be an opener. As I was going out to the studio, he said, 'Seeing as how you’re going to make up one thing, why don’t you make two pieces?' To which I thought, 'Well, maybe I’ll do three!'

“I very quickly got a little piano riff going for the first bit, then I got on the drums and bashed out a drum thing, and stuck a guitar on it. I was hopping from one instrument to the other without giving myself too much time to think. I would chug along on something, and Nigel was like a kid at Christmas. He’d say, 'Okay, can we have a high riff now?' I’d say, 'Sure! One high riff coming up.' And I’d just throw something on it. 

“We had the feeling that if it didn’t work, it didn’t work. There was no pressure. It felt like the grownups had left the studio to us, and we were just like kids who got to do anything we wanted to. When we had done all the takes, we mixed them all up. The whole process took about three hours.

“However, when we tried the piece at the beginning of the album, we decided it didn’t really work. Instead, we made it a so-called 'hidden' track at the end of the album. Although, in this case, I think we should have called it a 'not-very-well hidden track, because it doesn’t wait more than 12 seconds before it comes in.“

The guitars are pretty ballsy on the hidden track. Did you finally get to pull out the Les Paul for that one?

“He still didn’t let me use it, man! Les is not going to be pleased! But I blame Nigel.“

When Gibson unveiled the Flying V and Explorer in its Modernist Series in 1958, their radical designs quickly proved the very definition of “ahead of their time.” Gibson president Ted McCarty and his team concocted the sharp angles and space-age looks to conquer the rock and roll revolution, but not too many notable artists were bold enough to embrace the daring styles, and relatively few were sold before the models were deleted from the catalog after 1960.

Today, most see these Modernist designs as having been aimed at musical styles that were yet to be born. After the Flying V’s 1967 reissue (and further iterations that followed in the ’70s), and the Explorer’s 1976 re-introduction after rock-leaning competitors began adopting the shape, these models quickly secured their iconic status in heavy rock and metal and have remained hotly in demand ever since.

Rarely, however, have they been available in anything close to the original specs, other than via the occasional runs from the Gibson Custom Shop. Usually built from mahogany or woods other than the korina of the 1958-’60 series, and often with other altered specs and appointments, the majority of the reinventions have honored the shapes of the originals while rarely capturing the full essence of the revolutionary 1958 guitars.

That’s the void that the Epiphone Inspired by Gibson 1958 Korina Flying V and Explorer seek to fill as closely as possible, given their accessible price point. And at first glance, each certainly nails the appearance and overall vibe of the Gibson originals, using the correct body woods, accurate-looking hardware and plastics, and more.

But hold on: Haven’t most Epiphones been inspired by Gibson models since the Kalamazoo maker acquired its New York City rival in 1957? Yes, but by name-checking its parent company in this recent series Epiphone is signaling the partnership with the acclaimed Gibson Custom Shop that has helped to bring improved accuracy and overall quality to guitars sold under the “Inspired by” banner.

Manufactured by Epiphone’s facility in China, the 1958 Korina Flying V and Explorer are nevertheless designed and spec’ed-out in conjunction with Gibson’s Custom Shop in Nashville, and the joint logo on the back of the headstock ensures that level of accuracy and quality.

Putting korina right in the guitars’ names further emphasizes just how important this choice of wood is considered to be. Generically known as white limba, korina is thought of as a cousin to mahogany, although it’s lighter in color and often lighter in weight. In addition, it presents its own sonic signature that is relatively well balanced but distinctive, with a sizzling presence in the upper midrange and a textured chewiness in the harmonic content.

On both models, this korina is finished in a color Epiphone calls Vintage Natural, using a process referred to as aged gloss, but which most players would call satin. It works well for the general impression of each, although I think a fully buffed-out gloss finish would have looked great on these guitars.

The Epiphone 1958 Korina Flying V and Explorer have other specs and features in common. Both are available with either white or black multi-ply pickguards, as were the originals (the white version is reviewed here), with gold-plated hardware on all renditions.

They have Burstbucker 2 and 3 (rhythm and lead) PAF-style humbuckers wired to independent volume controls and master tone controls. Pots are by CTS, with a Mallory tone capacitor and Switchcraft toggle selector and jack, and both have unbound fingerboards made from Indian laurel, a sustainable medium-brown hardwood that nicely approximates rosewood.

Both also have accurate ’58 neck profiles that are full and comfortably rounded – a meaty handful that I really dig, and which you don’t often find on guitars of this level.

1958 KORINA FLYING V

It’s hard not to think “heavy rock” when a Flying V comes out, and the style certainly became a badge of honor for many players rocking spandex, full stacks and poodle hair. But there’s also something raw and rustic about a circa-’58 Korina V that reminds you they were applied to great blues and roots stylings by Albert King and Lonnie Mack, as well as classic Brit-rock by Keith Richards, Dave Davies and others. Either way, however, it steers me more toward garage rock than metal, although the design is more versatile than might first be expected.

Rather than just being the same wood in different shapes, the Korina Flying V and Explorer present subtle but significant alterations – both from each other, and from more standard guitars – that help form their sonic characters.

The neck tenon on each is quite deep, to enable the high neck/body joints, and the V shakes it up further with Tele-like through-body stringing, bringing the ferules, the body wood and the brass “V” tail plate into play. Otherwise, Flying Vs are always challenging to play on the lap, and this one’s no different. The rubber skid-mat inlaid into the thigh-side edge helps a little. Strap it up, though, and it’s game on.

Tested through a Friedman Smallbox amp head and 2x12 cab, a custom 5E3-style 1x12 combo, and a Neural DSP Quad Cortex into the studio monitors, the Korina 1958 Flying V quickly expressed the boatload of sonic personality that has long made this design far more than just a funky shape.

The combination of the light korina and through-body stringing, alongside the PAF-inspired pickup choice and the wood’s own sonic characteristics, delivers a blend of midrange snarl and harmonic complexity – yet with a certain scooped airiness at its core – that works for more nuanced styles as well as it does for straight-up rock and roll.

It’s a lively, resonant guitar overall, and while a high-gain pedal easily helps it get heavy, this 1958 Korina Flying V is surprisingly expressive, perhaps more so than you’d expect, given the all-in style choice that its shape represents.

Specifications

• NUT: GraphTech, 1.692” wide
• NECK: Korina, ’58 Flying V (deep-C) profile
• FRETBOARD: Indian laurel, 24.75” scale, 12” radius
• FRETS: 22 medium-jumbo
• TUNERS: Epiphone Deluxe with push-in bushings
• BODY: Solid korina
• BRIDGE: ABR-1 Tune-o-matic and through-body stringing with brass “V” plate, gold plated
• PICKUPS: Gibson Burstbucker 2 rhythm, Burstbucker 3 lead
• CONTROLS: Two volume controls, master tone control, three-way selector switch
• FACTORY STRINGS: Gibson Brite Wire .010–.046
• WEIGHT: 7.1 lbs
• BUILT: China

1958 KORINA EXPLORER

While a good 95 percent of what’s been said about the Flying V goes for the 1958 Korina Explorer, the aesthetics of the different body shape, the six-a-side headstock and the use of a stop-bar tailpiece, rather than through-body stringing, account for the significant differences.

The former means you can play this one while seated without constantly fighting to keep it from crashing to the floor, but the reconfiguration of that wood (and the use of a little more of it) also changes the guitar’s resonant characteristics and its fundamental tones.

Played through the same test rigs as the Flying V, the Explorer reveals a little more body in the low end and slightly more thickness in the mids, while retaining the chewy, swirly overtones and high-end bite that helped give the Flying V its sonic personality.

The Burstbucker pickups did well into an Angry Charlie distortion or a Blackout Effectors Musket fuzz for classic metal tones, while the Explorer dials back easily into more nuanced blues or power-pop voicings, proving itself surprisingly versatile.

Specifications

• NUT: GraphTech, 1.692” wide
• NECK: Korina, ’58 Explorer (deep-C) profile
• FRETBOARD: Indian laurel, 24.75” scale, 12” radius
• FRETS: 22 medium-jumbo
• TUNERS: Epiphone Deluxe with push-in bushings
• BODY: Solid korina
• BRIDGE: ABR-1 Tune-o-magic and stopbar tailpiece, gold plated PICKUPS Gibson Burstbucker 2 rhythm, Burstbucker 3 lead
• CONTROLS: Two volume controls, master tone control, three-way selector switch
• FACTORY STRINGS: Gibson Brite Wire .010–.046
• WEIGHT: 7.3 lbs
• BUILT: China

CONCLUSION

One of the main takeaways here is perhaps the same one the originals delivered in 1958: These are surprisingly adaptable and expressive designs, so don’t let their radical looks lead you astray.

Epiphone’s 1958 Korina Flying V and Explorer are both well-built and great-playing homages to these iconic models that are reasonably priced for what they deliver, and each is deserving of an Editors’ Pick Award.

Visite Epiphone for more information.

Back in 2021, Epiphone teamed up with singer-songwriter and ace guitarist Emily Wolfe to create a new signature Sheraton "Stealth" model.

Now, the two have joined forces once again to create a new version of the electric guitar that trades the original's sleek black finish for a snowy white look.

You can hear both of the Wolfe signature Sheratons in action in the demo below.

Like its black-finished predecessor, the “White Wolfe” features a layered maple body – highlighted by a pair of diamond f-holes – with a maple centerblock, and a SlimTaper 60s C-shaped mahogany neck sporting a 24.75", 12" radius Indian Laurel fretboard with 22 Medium Jumbo frets, and block Mother of Pearl inlays that themselves feature abalone lightning bolts.

The Sheraton's pair of Alnico Classic PRO humbuckers can be tweaked by a three-way pickup toggle, a pair of volume knobs, and a single tone knob – a more streamlined setup than the two-volume/two-tone layout of a typical Sheraton.

The “White Wolfe” also features Grover Rotomatic tuners, a Graph Tech nut, and an Epiphone LockTone bridge and tailpiece, with all hardware given a nice aged gold finish. The new Sheraton is fairly light on loud signature touches, however, a white-on-white signature from Wolfe and a gold wolf decal do feature on the back of the guitar's headstock.

"The White Wolfe is a showstopper of a guitar," Wolfe said of her new signature model in a press release. "It’s a true symbol of how bold and unafraid we can be as guitar players. I hope this beautiful instrument feels like a part of anyone who picks it up."

The Epiphone Emily Wolfe “White Wolfe” Sheraton model is available now – with an EpiLite case included – for $899, the same current price as its "Stealth" sibling.

For more info on the guitar, visit epiphone.com.

“Hi, my name’s Slash. Can you sell me some Les Pauls?”

Back in 1988, that was how the man born Saul Hudson first came in contact with the Gibson guitar brand. Guns N’ Roses had only recently released their debut effort, Appetite for Destruction, an album on which Slash, in what is now rock-guitar lore, recorded most of his parts using a 1959 Les Paul copy built by luthier Kris Derrig. As the band hit the road in support of the record, he took the Derrig with him. Not surprisingly, the axe, one of his only guitars at the time, quickly took a beating from intense onstage use. So Slash retired the Les Paul copy from live work and went looking for the real thing.

Which is what led him to Gibson. “At that point, Guns N’ Roses hadn’t quite crested that wave. We were sort of still a fledgling L.A. club band that had a record deal, just like all the rest of ’em,” Slash recalls. “But I called Gibson and they said, ‘Yeah, we’ll work something out.’ They sold me two Les Pauls at dealer cost. And that’s how our relationship started.”

That relationship has grown into, arguably, the most visible and fruitful collaboration between an artist and guitar brand of the past 30-plus years. Slash has not only been instrumental in returning the Les Paul to unrivaled prominence in the guitar universe, he has also helped design some of the best-selling and most highly regarded artist models in the marketplace.

And the partnership has only gotten stronger and deeper with each year. In 2017, Gibson named Slash its first-ever Global Brand Ambassador, and today the Slash line of Gibson guitars continues to expand (see, for one, the signature J-45 acoustic offerings). What’s more, the brand recently launched a record label, Gibson Records, which issued the 2022 Slash (featuring Myles Kennedy & the Conspirators) album, 4, as its debut release.

Now, Slash has aligned with Gibson on another new venture – a massive, deluxe hardcover book, The Collection: Slash, which is the first offering from the newly created Gibson Publishing. Across its oversized 364 pages, Slash tells the stories behind the guitars he has used throughout his legendary career, all of them accompanied by gorgeously detailed photos of the instruments themselves. The premium coffee-table tome is a must-have for any guitar fan, and is available in Standard, Deluxe and a truly stunning, limited-to-500-copies Custom Edition that is hand-signed by Slash and nestled inside a clamshell protective box with premium case candy.

In any iteration, The Collection: Slash is a package unlike any seen before. As for why the man himself wanted to do it? “I mean, what’s better than a book full of guitars?” Slash asks with a laugh. “And the way Gibson proposed putting it together, I just thought it was so cool. It was an exciting prospect, and it just started from there.”

In addition to chronicling dozens upon dozens of instruments from Slash’s substantial stash (including, in a very cool move by Gibson, many quintessential non-Gibson models) compiling The Collection: Slash afforded the musician the opportunity to become reacquainted with some of the lesser-used six-strings in his life.

“I have to admit that I buy a lot of guitars,” Slash says. “And I’m a little bit of a pack rat, because I’ve never gotten rid of anything. And while you’re constantly aware of additional things that you keep adding to the stockpile, doing an exposé like this I realized that, while I play a lot of these guitars pretty regularly, some of them, they don’t get enough use. It made me feel like, God, I want to put ’em all in a room where everybody can just walk in and look at them! Now, in a way, they can.”

Here, Slash takes us on a tour of some of the standout guitars in The Collection: Slash, recalling when each instrument came into his life and how it continues to be a part of his musical experience today.

KRIS DERRIG REPLICA

One of the most famous Les Pauls is not a Les Paul at all. Featured on almost all of Appetite for Destruction (“I played an SG on ‘My Michelle,’” Slash reports), the Kris Derrig replica is the source of that album’s coveted guitar tones, and arguably reignited the Les Paul flame single-handedly in the ’80s. It also originally boasted Seymour Duncan Alnico II humbuckers, which were the template for Slash’s signature pickups.

“Getting the Derrig was an interesting sort of perfect storm,” Slash recalls. “Because I went from having no identifiable sound during the basic tracks for Appetite to getting this guitar, with these particular pickups, played through a particular rented Marshall amp. All those contributing factors made for a really great guitar sound that has served me ever since.”

Amazingly, the heavy wear across the top and back is almost entirely the result of Slash using the guitar, then in pristine condition, onstage for less than a year. “I’m hard on my guitars,” he admits. “And with the Derrig, I realized what an effect my live attack had on it. That’s when I finally broke down and called Gibson and said, ‘I need a Les Paul.’ I just didn’t want anything to happen to it. So I put it away.”

GIBSON LES PAUL “JESSICA”

When we think of Slash’s Les Pauls, designs like the Derrig and his signature models come to mind. But it’s likely another Les Paul, one he calls Jessica, that we’ve seen him wield most often. Slash acquired the guitar from Gibson – one of the two factory seconds with three-piece tops the company sent him after he retired the Derrig copy from road work. “It became my main stage guitar with Guns and through Velvet Revolver,” he says. “It still is.”

Onstage, he continues, “Jessica is the main Appetite guitar. I open the set with her for ‘It’s So Easy’ and ‘Brownstone,’ I play ‘Paradise City’ with her, and I play ‘Welcome to the Jungle’ with her.”

As for what makes the now heavily worn instrument stand apart from his many other Les Pauls? “The guitars that you take out on tour and play the most are the ones you feel most comfortable with, the ones that give you what you want from them, the ones that are consistent,” he says. “Back then it was one of two guitars that I had for the road, so I made it work. And now it’s a central part of what I do.”

GIBSON LES PAUL “THE FIRST ‘BURST” – 8 3096

While Slash has always been adamant about the fact that he acquires guitars for their playability rather than pedigree, this Les Paul is one that offers both in equal measure. Dubbed “The First ’Burst,” this Standard was one of two that left Gibson’s factory on May 28, 1958 with ’Burst specifications, including PAF humbuckers and a Cherry Red finish. One of those instruments featured a three-piece top, while Slash’s ’Burst is a two-piece with a slightly off-center join.

“It was definitely an acquisition because of what it is,” Slash says of the First ’Burst. “But it’s also a really great-sounding guitar. And that was the bigger selling point for me – it has amazing tone.”

So much so that Slash has used the historic guitar in the studio, specifically, on the Conspirators’ 2014 album, World on Fire, which was recorded not long after he acquired the instrument. That said, he adds, “I wouldn’t take it on the road.” For that, he continues, “Gibson made me a replica, which sounds really great as well.”

1959 LES PAUL STANDARD – 9 0844

These days, Slash owns several authentic ’59 ’Bursts. But this one, acquired in the early 1990s, was his first, and it remains his favorite. “It has a particular sound that I’m drawn to, a certain kind of attack and personality that I recognize,” he says. “It’s the go-to ’59 for me because I know what it does.”

In addition to sporting a gorgeous finish, the guitar is easily identifiable via a telltale “snakebite” – small holes in its top that evidence the one-time addition of a Bigsby vibrato. And while Slash keeps it away from the stage, he says he has used it in the studio with the Conspirators on several occasions, in particular the ballad “The Great Pretender,” from 2016’s Living the Dream, and the band’s cover of Elton John’s “Rocket Man.”

“The PAF pickups just sound so sincere,” Slash says. “The guitar is much different from, say, the Derrig, which is a much more modern-sounding Les Paul – it’s louder, it’s got more attack. If you do like a slow blues thing or anything like that, the tonality on this particular ‘59 is really great for that kind of stuff.”

2002 SLASH LES PAUL PROTOTYPE

This limited-run Custom Shop guitar is “what I would call the first ‘official’ Slash model,” Slash reveals. “This is when I think of us as going into business together for real, and when Gibson started to actually have this idea of me sitting down and designing a guitar with them and then putting it into production.”

The 2002 Slash Les Paul boasts a rich Tobacco Burst finish and Seymour Duncan Alnico II humbuckers, as well as a custom “Slash” truss-rod cover. But the most unique aspect is undoubtedly the inclusion of a piezo pickup system that offers a selection of acoustic and hybrid acoustic/electric sounds, controlled via a three-position mini-toggle switch between the guitar’s volume knobs.

“I did use the piezo for a second, and it actually sounded really good,” Slash says. “But my physical approach to an acoustic sound didn’t work on electric guitar – I hit it too hard when I’m playing acoustic stuff, so doing it on electric was not really conducive to that sort of attack. So eventually I phased it out. But it was a cool idea at the time.”

EARLY 1970S EPIPHONE 6830

This Japanese-made steel-string acoustic isn’t the oldest guitar in Slash’s collection, but it is the one he’s had the longest. “I think I was probably in high school when I got it,” he says. “And I cherish the fact that I’ve managed to keep it and nothing’s happened to it.”

Slash calls the Epiphone the first “good acoustic” he ever took ownership of, and he received it in a moment of goodwill. “When I was 15, I would do some babysitting, and this one kid I babysat for, his parents had it hanging on the wall next to a mandolin,” he recalls. “I asked them, ‘Can I play it while the kid’s sleeping?’ I was still playing it when they got home, and they actually ended up giving it to me.”

These days, the Epiphone is far removed from all-night strum sessions. “I haven’t pulled it out and played it in a long time, because the tailpiece is threatening to come off and I had to bolt it down,” Slash says. “So I just sort of leave it alone. It’s more of a keepsake than anything.” He laughs. “Besides, I have plenty of acoustic guitars to beat on. I don’t need to beat on that one.”

1959 GIBSON FLYING V – 9 1705

“When I was doing the Use Your Illusion records I was looking for different guitars for different songs, and it was the first time I ever had any money to do that,” Slash recalls. “I became aware of the korina ’58s and ’59s, and so I went to my friend who is a guitar broker. He came up with two Explorers and this V, and I bought all three. It was one of those purchases where I was like, ‘Well, let’s see how these sound.’ And it was, ‘Oh, this is fucking awesome!’”

For fans looking to hear that sound, tune your ears to Guns N’ Roses’ cover of Bob Dylan’s “Knockin’ on Heaven’s Door.” “I went to the studio, that guitar was there, and I laid all the tracks down in a couple of hours,” Slash says. “The tone on it was so great that it was literally a one-take solo – just a throw-and-go. That guitar, because of the way it sounded, is what led that to be such an easy thing to do.”

As for what he thinks is so special about those original Vs? “They just have a certain tonal quality, this smooth, sweet tone that you cannot find in any other guitar,” Slash says.

1980 BC RICH MOCKINGBIRD

As a teenager, Slash chose a B.C. Rich to be the first “good, brand-name instrument” he ever owned. He has a variety of examples, the most recognizable of which is this red 1980 Mockingbird, which he famously employed in the studio and the music video for the Use Your Illusion track “You Could Be Mine,” as well as on Velvet Revolver songs like “Sucker Train Blues.”

“This is the one guitar that I have a photographic memory of acquiring,” Slash says. “I bought it from a guy in front of [defunct L.A. nightclub] the Cathouse. I hardly knew him, but I saw him regularly every Tuesday night when I would go down there. He told me he had a Mockingbird that he was looking to sell, and he goes, ‘I’ll bring it down.’ And the following Tuesday at, like, 11:30 at night, he comes walking down Highland Avenue with a guitar case. I bought it from him on the sidewalk.”

While the guitar is one that Slash will often reach for when he’s in need of a whammy bar, some of the Mockingbird’s unique appointments – an onboard preamp, Varitone switching, coil splits – are roundly ignored. “The knobs are a cool novelty-type of thing, but I’ve never found much use for them,” he says. “I was never one of those ‘coil-tappers.’”

The Collection: Slash, Custom Edition

Limited to 500 copies worldwide, and hand-signed by Slash, the Custom Edition ($999) measures 297 x 420 mm (11.69 x 16.54”) and comes inside a premium clamshell protective box with case candy, including an Axe Heaven Appetite Les Paul miniature guitar, an exclusive Slash bandana, a guitar pick tin with Dunlop guitar picks, a cover poster, four guitar art prints, and a certificate of authenticity. 

The Collection: Slash, Deluxe Edition

The Collection: Slash Deluxe Edition ($249) is presented in a Les Paul slipcase and measures 240 x 340 mm (9.45 x 13.39”). It includes a cover poster, four guitar art prints, and a certificate of authenticity. The initial print run of the Deluxe Edition is hand-signed by Slash and limited to 1,000 copies. 

The Collection: Slash, Standard Edition

The Standard Edition ($149) offers a widely accessible version of the coffee-table book featuring 364 pages in hardcover, in a slightly more compact size of 240 x 340 mm (9.45 x 13.39”). 

To order any edition, visit Gibson.com. 

Few guitar gods have been as public about their favorite vintage guitars as Joe Bonamassa, and several of the stars in his collection have made for impressive reissues and tribute models to date.

In addition to JB’s name simply adding celebrity recognition to any new signature model he’s associated with, it also seems that the blues great’s collaboration helps to bring out the best in what might otherwise have been a run-of-the-mill, entry- to mid-level instrument.

The Epiphone Joe Bonamassa Limited Edition 1960 Les Paul of 2020 was a case in point, an impressively thoughtful take on a vintage ’Burst at a very reasonable price – and now the same maker’s new Joe Bonamassa 1962 ES-335 promises to attain the same success.

Despite the Epiphone name on the headstock, the Joe Bonamassa 1962 ES-335 is obviously based closely on the “block-neck” Gibson ES-335 of the early ’60s, and not just any ES-335 but a much-loved example that Bonamassa acquired early in his career.

Purchased in 1996 and used on his first solo album, A New Day Yesterday, this original vintage ’62 ES-335 was sold to finance a move to L.A. for the next phase of his career, and Bonamassa tells us he’s missed it ever since.

So much so, in fact, that he jumped at the chance to reacquire that very same guitar upon receiving an unexpected phone call some 20 years after he’d first parted with it.

Cue impassioned reunion, followed by Epiphone’s examination of the ’62 Gibson for its next big JB signature release.

And the rest is history.

Given the premise, this guitar sticks closely to the traditional ES-335 shape and specs. Its body is made from five-ply laminated maple with a solid maple center block, the original genius stroke of the 1958 design that helped to cut feedback while adding heft, sustain and articulation to the tone.

The glued-in mahogany neck is carved to a comfortably rounded medium-C profile that measures about .84 inches in depth at the first fret, making it a little fuller than many early ’60s Gibson necks, but not as chunky as the ’59 profile.

The fingerboard is made from Indian Laurel, a medium-brown wood that approximates the look and feel of rosewood, and carries 22 well-dressed medium-jumbo frets.

It’ll come as no surprise that Epiphone is offering the guitar only in a Sixties Cherry finish, to emulate the original, but it sure looks good on this one. Rich and succulent, with just translucence to reveal some of the wood grain beneath, it’s buffed to a high gloss and beautifully contrasted by the single-ply white binding on the top, front and around the fingerboard.

The black control knobs with silver inserts and five-ply black pickguard all do the appropriate vintage-correct tricks, and the “Custom Made” plaque covering the spot where the empty stopbar-tailpiece studs existed on vintage originals is a nice touch.

Hardware includes a traditional Tune-o-matic bridge set into studs and bushings, partnered with Epiphone’s rendition of the Maestro Vibrola tailpiece, a simple but effective bent-spring vibrato unit adept at subtle, Bigsby-like wiggles.

Up at the other end, in addition to the Epi approximations of Kluson Deluxe tuners with double-ring tulip buttons, it’s nice to see the use of the more Gibson-like “open-book” headstock shape that has adorned many models in recent years. Not that there’s anything wrong with the more narrow-waisted Epiphone outline of old, but any good effort at an authentic reissue-style guitar like this deserves the right lines from top to bottom.

In the electronics department, Epiphone has loaded a pair of parent-company Gibson’s popular Burstbucker PAF-style pickups: a 2 in the neck position and a slightly hotter 3 in the bridge.

These are routed through the traditional four-knob control section with a three-way toggle selector, a user interface that’s proved versatile since the mid 20th century.

In the hand, the Joe Bonamassa 1962 ES-335 further confirms my impression that Epiphone continues to step up its game. The workmanship inspires confidence from frets to finish, appearance to playing feel, and the guitar is lively and resonant when played acoustically.

Tested through a Fender Princeton 1x10 combo and a Vox-meets-Marshall-flavored 65amps London head and 2x12 cab, it revealed no surprises whatsoever – unless you somehow weren’t expecting a classic, versatile, and very expressive semi-hollow performance.

Like other guitars in the ES family, the core of the JB 1962 ES-335’s personality lies in its combination of thin maple-ply top, back and sides and solid center block (not to mention the influence of the scale, hardware and pickup complement).

The build and ingredients lend a certain hair and bite even to ultra-clean tones, which remain just a touch raspy, gritty and thick, where a solidbody with the same features might sound more neutral.

The ES-335 has long been a chameleon in the stable of seminal electric guitar designs, and the Epiphone Joe Bonamassa 1962 ES-335 is no different. Like other good examples of the breed, it runs from crisp, articulate, edge-of-breakup blues to full-on rock crunch, and wails like a champ of a Les Paul substitute, all without breaking stride.

Yet with the amp dialed in right, it can also shimmer, twang and jangle in ways that leave jaws on the floor for players who just didn’t think that a dual-humbucker, Gibson-style guitar could sound like that.

The Maestro-style vibrato works well for subtle tremulations, although heavy use inevitably behooves some re-tuning between songs, but so it goes with these units, and you can always just ignore it.

All in all, the Epiphone Joe Bonamassa 1962 ES-335 achieves an impressive degree of classic 335 goodness at a very reasonable price for its level of quality, and that earns it an Editors’ Pick Award.

Specifications

• NUT: Graph Tech, 1 11/16” wide
• NECK: Mahogany
• FRETBOARD: Indian Laurel, 12” radius, 24.75” scale length
• FRETS: 22 medium-jumbo
• TUNERS: Vintage-style Epiphone Deluxe with double-ring tulip buttons
• BODY: Semi-hollow, made from five-ply laminated maple with maple center block
• BRIDGE: Epiphone Tune-o-matic bridge with Maestro Vibrola tailpiece
• PICKUPS: Gibson Burstbucker 2 and 3 in the neck and bridge, respectively
• CONTROLS: Individual volume and tone for each pickup, three-way switch
• FACTORY STRINGS: Epiphone .010–.046
• WEIGHT: 8.1 lbs
• BUILT: China

Visit Epiphone for more information.

Any mention of the Epiphone brand today is likely to evoke thoughts of budget-friendly, overseas-made Gibson alternatives that have worn that badge for the past several decades. But the brand began as a seminal American guitar maker and one of the “big three” of the early archtop, alongside Gibson and Gretsch.

The subject shown here hails from the earliest days of Gibson’s ownership of Epiphone, a time when the maker’s own distinctive features were still prevalent throughout the design.

At first glance, this 1959 Epiphone Sheraton might look relatively familiar, yet a closer probe reveals a wealth of unusual details that hearken back to its glory days.

Only two decades earlier, Epiphone had been a premier brand serving the needs of volume-hungry jazz and dance-band guitarists with models that rivaled Gibson’s preeminent archtops. But the war years were hard on Epiphone, and the company had difficulty recovering after the 1943 death of its president and namesake, Epaminodas “Epi” Stathopoulo.

In the mid 1950s, Les Paul, who had originally developed his ideas for a solidbody electric guitar in the Epiphone workshops, suggested Gibson president Ted McCarty acquire the New York City-based company.

In 1957, McCarty struck a deal with Epi’s brother, Orphie, the majority shareholder, to purchase Epiphone for $20,000. Gibson moved Epiphone production to its factory in Kalamazoo, Michigan, where guitars carrying the brand name began rolling off the assembly line in 1958.

Although these used the woods and basic body shapes that the very same craftsmen were applying to Gibson models of the time, many Epiphones of the first few years of production were fitted entirely with parts brought from New York after the acquisition. Such is the case with this stunningly clean and original 1959 Sheraton, Epiphone’s top-of-the-line semi from the first year of its production.

Even beyond the components, this ornate model bears the marks of Epiphone’s glory years. This Sheraton has the desirable short headstock that would be enlarged in 1964, adorned with a mother-of-pearl tree of life inlay that’s much like those seen on upscale models of the 1930s, like the full-bodied Emperor archtop.

Similarly, its ebony fretboard sports multi-ply purfling within the binding – something not even afforded Gibson’s top-of-the-line semi, the ES-355 – along with elegant split-V position markers, with wedges of abalone inlaid within the mother-of-pearl rectangles.

A look round the back shows us that the glued-in neck is itself a laminated five-piece construction, a feature found on none of Gibson’s semis of the era.

Although the Sheraton’s body was a sibling of Gibson’s new thinline semi-hollow ES range, its depth is a little shallower at the rims than some comparable ES-335s of the same year. 

Apparently built in early ’59, this guitar’s top is also made with the thinner laminated maple Gibson was using on its pressed-archtop models up until around the end of 1958, considered by many to be livelier sounding than the laminated stocks that followed.

The woods used for this Sheraton also display a lovely, subtle flamed grain, and the guitar’s lusciously rich “iced tea” sunburst finish continues around the rims, something not seen on its Gibson cousins.

The neck profile is also different from anything found on a Gibson of the era, a distinct “V” shape that owner James Youngjohns says is closer to shapes he has found on 1930s Gibson acoustic guitars.

Other distinctly Epiphone details include the pre-Gibson radio knobs, the elongated pickguard with “E” inlay and the two-tiered Frequensator trapeze tailpiece. The latter was a feature of many of the company’s big pre-Gibson archtops, boasted of in promotional literature, and intended to balance out the tension of the bass and treble strings across the bridge. (Note that the bridge currently on this one is a replacement.)

Of all the distinctive components in evidence here, though, the pickups might just stand out the most, and obviously have the greatest impact on the Sheraton’s unique voice.

Dubbed NY, for New York, they are also leftovers from Epiphone’s independent years. While often mistaken for early mini-humbuckers, they are actually single-coil units.

“They’re fairly low-output relative to Gibson’s P-90s of the time,” Youngjohns says, “but they’re very clear and articulate. The closest comparison I could make is gold-foils, particularly in the treble response, although they also have quite a full bass.

“It’s very easy to re-create that 1950s Barney Kessel sound you hear on recordings such as Julie London’s ‘Cry Me a River’ using the neck pickup into an old tube amp.

“The New York pickups were quickly dismissed by the rock crowd, as they weren’t going to push an amp into breakup the way a humbucker or even a P-90 would,” Youngjohns adds. “But if you use pedals to do the heavy lifting, the NYs work really well for higher-gain music styles.

“Playing a modern indie/alternative repertoire on it, the Sheraton has a lovely top-end sparkle, and it retains far better individual note clarity than an ES-335 with similar gain. It’s a really interesting variant on the 335 sound, and the special sauce is definitely the pickups.”

In 1960 or early ’61, Gibson replaced the Sheraton’s leftover NY single-coils with its own mini-humbuckers.

These are the guitars seen far more frequently through the years, as played by artists from John Lee Hooker to Noel Gallagher to Vampire Weekend’s Ezra Koenig.

Gibson shipping records from the era show that only 46 Sheratons were made in 1959 and a further 26 in 1960, so it’s no wonder the seminal early configuration is rarely seen today.

ESSENTIAL INGREDIENTS

• Semi-hollow thinline archtop body
• Laminated maple top, back and sides
• Five-piece neck with bound ebony fingerboard, 24.75-inch scale
• Split-V block inlays
• Frequensator trapeze tailpiece
• Dual New York single-coil pickups

Guitar Player would like to thank James Youngjohns for showing us this incredible guitar.

So, you're looking to buy a new guitar and have around $1,000 to play with. Well, fear not, as I have scoured the market and selected the best electric guitars under $1,000 you can buy right now. Whether you're playing blues, rock, country, jazz, or anything else, these guitars will serve you well on the road, in the studio, or just at home.

Having played guitar for 25 years, I’ve been fortunate enough to spend plenty of time with instruments in this price bracket. My years working in a guitar store also gave me the opportunity to compare many of these models side by side, and that experience, combined with Guitar Player's decades of expertise, has helped us select the very best options. These days $1,000 can get you a lot of guitar, as this guide proves.

If you want my top pick at this price point, I've gone for the PRS SE Custom 24 – an excellent choice no matter what genre of music you love to play. It's versatile, comfortable to play, and works just as well on-stage as it does in the confines of your home. Whereas if you’re looking for the best value below the $1k mark, the Squier Classic Vibe ’60s Strat is handsome, delivers amazing Strat tones and offers excellent value for money.

With so many excellent guitars at this price point, undoubtedly many didn't make my list, but I've chosen a good cross-section of what's available right now, with labels to help you navigate to your ideal match. If you have a burning question needing answered, scroll to the FAQ section at the bottom. I’ve also included a glossary of key terms and a how to choose guide to help you upgrade your guitar knowledge.

Best overall

Overview

The classics are classic for a reason. The Custom 24 has established itself as a major player in the world of guitars, alongside the likes of the Fender Strat and the Gibson Les Paul. Whether you’re a gigging musician, bedroom guitarist or producer who needs a reliable ‘do-it-all’ guitar, this has you covered. Absolutely one of the best electric guitars you can buy for less than $1,000.

Build quality

I've become so used to PRS guitars' great craftsmanship, and the SE Custom 24 is no exception. The materials have been chosen with intention, with a familiar layout: a mahogany body, flamed maple veneer, and maple neck. The rosewood fretboard is a nice touch, adding an aesthetic depth that looks the part. Although this is technically in PRS’ more affordable price bracket, the build quality certainly doesn’t display that.

Playability

The SE Custom 24 offers the superb playability that PRS has become known for. It’s a joy to play, regardless of what style of player you are. Playing the ‘wide thin’ neck profile is like putting on a comfortable pair of shoes, instantly familiar and hassle-free. It’s also the smaller details, like the sculpted lower horn, that give your left hand enough room to breathe when soloing high up the neck.

Sounds

This latest PRS SE Custom 24 features a pair of 85/15 ‘S’ humbuckers, based on their US-made counterparts. These are ideal for rock, blues, jazz, and loads more. However, if you need more tones at your disposal, the tone knob also acts as a coil-split function so you can get more single-coil-like tones, making this a really versatile instrument.

Best value

Overview

The entire Classic Vibe range from Squier offers excellent value for money, but I’ve picked out the ’60s Strat as one of the best guitars under $1,000 for its playability, looks, and sound. Vintage pre-CBS Strats are serious money, and Custom Shops and American Originals sit well above our $1,000 limit. This model could fit into our best electric guitars under $500 guide, less than half our budget here, and it’s a whole lot of fun to play.

Build quality

The Classic Vibes are built to a good standard; these will act as reliable instruments on the road or just at home. There are a few cost-cutting materials in play, like a nyatoh body and Indian laurel fingerboard. However, this doesn’t affect the guitar’s durability; if anything, a laurel fingerboard instead of rosewood typically comes down to aesthetics. I have actually played a few gigs with a ’60s Classic Vibe Strat when my main option went down, and I had absolutely no issues with its durability.

Playability

Like any Strat worth its salt, the ’60s Classic Vibe plays very sweetly. The C-shaped profile is a ‘Goldilocks’ shape, and most players will find it incredibly easy to get along with. There is a vintage-tint gloss finish; it does give the right aesthetic; however, some players may prefer a satin smooth finish as it can get a little sticky in some situations. This is a take on a classic Strat, and all of the body contours are in the right place, meaning it is very comfortable playing on your lap.

​Sounds

When it comes down to tone, you don’t quite get the same note definition and frequency range as you would with some more expensive models, but this guitar delivers all the classic Strat tones for not a lot of money. The traditional SSS pickup configuration comprises three Fender-designed alnico single coils, and the bell chime, spank, and warmth in the neck position are all present and correct.

Best for modding

Overview

The Player II series is the latest evolution of Fender’s best-selling Mexican-made guitars, and a few thoughtful upgrades have made me smile. It also offers an incredible base for anyone looking to add their own modifications. After all, the Telecaster has been heavily modded by the likes of Keith Richards, Albert Lee, and Andy Summers, to name but a few.

Build quality

Compared to the initial Player series, the return of rosewood fingerboards, the addition of rolled fingerboard edges, and a set of jack-of-all-trades Alnico 5 single-coils make the Player II series even more appealing. There is also a plethora of new finishes to choose from, and unlike the original Player series, you are no longer limited to alder; chambered mahogany and ash options are now on the table, adding even more tonal variety and lighter weights that those with a bad back will appreciate.

Playability

When set up correctly, the Player II series is one of the most playable ranges on the market. It can quite easily compete with guitars much more expensive, and details like a satin-smooth neck, a familiar C-shaped neck profile, and rolled fingerboard edges add up to an instrument that really is more than you will ever need, perhaps not what you want, but what you need.

Sounds

Telecaster pickups remain one of the most versatile configurations out there; this thing will cover punk to pop and most genres in between. There’s a reason the Telecaster hasn’t changed much since the ’50s, and its ability to adapt to just about any style is one of its greatest strengths. Sure, it is still not built for extreme high-gain styles, and there are better chugging options out there, but for everything else, this one is hard to beat.

Best modern

Overview

The Jackson Pro Series Lee Malia LM-87 is a real curveball in the best possible way. Inspired by Lee Malia’s vision of a modern, genre-crossing signature guitar, it blends offset styling with serious performance. While it carries a distinct metal-leaning, it is far from a one-dimensional instrument with plenty of surprising versatility to step well beyond heavier genres.

Build quality

Together, Jackson and Lee decided to build this around an okoume body with a set-neck construction. The LM-87 feels solid and thoughtfully put together, while the satin finish and cream binding give it a slightly vintage-inspired look and the contoured heel improves upper-fret access. Hardware is equally well considered, with a Tune-o-matic-style bridge and tailpiece featuring fine tuners for precise adjustments, a feature you don’t typically see often.

Playability

A satin finished C-shaped neck and 22 jumbo frets make for a fast yet still comfortable playing experience, with the compound 12-inch to 16-inch radius helping smooth out both chord playing and lead runs up and down the neck. The upper-fret access is excellent thanks to the sculpted joint, and overall it feels built for modern playing.

​Sounds

The LM-87 is loaded with a high-output Jackson LM-87 humbucker in the bridge with an LM-87 P90 in the neck, giving you plenty of tone options. The bridge delivers tight and aggressive tones suited to rock and heavier styles, while the neck offers clarity and warmth for cleaner playing. Coil-splitting expands the range of tones even further, and when the ‘bucker is split, the output retains surprising oomph, making this a genuinely flexible modern guitar.

Best traditional

Overview

Gretsch makes some of the best-looking guitars in the business, but they also sound killer. This style of guitar has been around for decades now; the single-cut hollow-body construction was pioneered by Gibson all the way back in the 1930s, and many other brands followed suit. Gretsch was fast on Gibson’s heels and today is one of the best in the business at producing hollow bodies.

Build quality

There is no denying that this guitar is visually striking. It comes in some incredible finishes, the body is nice and big, and the Bigsby tailpiece and arm add a nice little touch of class. My personal favorite is the Walnut Stain finish; it is classy and pops with the white binding. The arched laminated maple top is a snapshot of yesteryear’s electric guitar design style, and the G5420T wears it well.

Playability

Once you get over the large body, the G5420T plays incredibly well. We have a ‘Classic C’ neck profile accompanied by a 12-inch fingerboard radius; both are a comfortable middle ground between more extreme radius options and profiles. Although the body is large, being a hollow body makes the guitar quite light, so if you’re sick and tired of solid-body monsters, this may be a good choice.

Sounds

The fully hollow body also makes the tone really resonant and helps deliver a warm, full-bodied sound, and the BlackTop Filter’Tron pickups add some chime and sparkle to the top end. Whether you’re playing blues, jazz, rockabilly, or rock, the Gretsch G5420T really is one of the best electrics under $1,000.

Best workhorse

Overview

The Strat that isn’t a Strat received the SE treatment from PRS back in 2022, making it more affordable for a wider audience. PRS managed to do this without greatly reducing the overall quality or performance of the instrument. While the sound and look of the SE Silver Sky is hardly groundbreaking, there is something different about it.

Build quality

While the guitar is made in Indonesia, unlike the more expensive US models, it still features the classic Paul Reed Smith workmanship that we’ve all come to know and love. The SE version features a solid poplar body, maple neck, and either a rosewood or maple fingerboard, depending on your preference. There are plenty of finish options to choose from, and the newly released Laurel Green is a personal favorite.

Playability

Right out of the box (well, gigbag), this thing plays great, and we know it will continue to do so, year on year. With a 25.5-inch scale length, it is very Fender-like; however, the smaller 8.5-inch radius does make the SE Silver Sky feel like a different beast. It feels much rounder than a 9.25-inch radius and follows the curvature of your hand more naturally.

Sounds

The SE model sports three 635JM “S” pickups, the SE variant of the standard 635JM found in Mayer’s American model. All five pickup positions are nicely balanced and very usable; there is nothing harsh about the bridge position, and the neck pickup is lovely, deep, and rich. It sounds, and indeed feels, like a more expensive guitar.

While the PRS Silver Sky is still a relatively recent model compared to the decades-old Stratocaster, it has quickly carved out its own identity. Is it one of the best electric guitars under $1,000? John Mayer and his band certainly think so!

Best for shred

Overview

There are some great choices when it comes to super Strats at the moment, but none outperform the Charvel Pro-Mod So-Cal at under $1,000. Shredders and rock guitarists will love this, but it’s by no means a one-trick pony; it’s actually super versatile.

Build quality

The Pro-Mod So-Cal Style 1 looks great, and it is made well, plus that slim neck profile is incredibly comfortable for rhythm and lead work. For a guitar built for speed, Charvel has thrown the kitchen sink. The 12-inch to 16-inch radius gets flatter the further you climb the neck, while the graphite-reinforced neck has been added for ultimate stability when shredding. On this model, Charvel has implemented a Series 1000 Floyd Rose so you can dive-bomb to your heart’s content.

Playability

Perhaps the most unique aspect of this So-Cal is Charvel’s proprietary Speed Neck. Although this guitar wears its Strat influences on its sleeve, the Speed Neck is actually more akin to something from Ibanez. It’s incredibly thin and wide, not dissimilar to a flat D profile. Pair that with the rolled fingerboard edges, and you have a neck designed for one thing only: speed.

Sounds

A pair of fairly high-output Seymour Duncan humbuckers offers a tight bass response, along with a sweet top end. Dial back on the volume knob, though, and they will clean up, though that’s probably not what you’re getting this guitar for. The volume knob also works as a push/pull switch, activating a coil split, giving you single-coil sounds; this really isn’t just a shredder’s guitar.

Also consider

How to choose

Choosing your next guitar under $1,000 may take you a bit of time. After all, there are quite a few considerations. Having helped people select guitars at this price point during my day job in a guitar store, as well as writing for Guitar Player, I believe I have a solid formula for finding the right option. Whether you’re after a workhorse to gig with or a reliable studio guitar that’ll deliver on important sessions, here are the key points to consider.

1. Body shape

Firstly, and perhaps most obviously, is settling on a body shape. Are you looking for the comfort and accessibility of a Strat-style guitar, or something a bit more edgy like an offset? If you’re into classic rock, a single-cut Les Paul-style guitar may suit your tastes better.

Either way, narrowing your choice down to a preferred body shape will immediately reduce the overwhelming number of options. If this is your first guitar, go for whatever feels most comfortable. If you’re adding to your collection, you might want to choose a body shape you don’t already own.

2. Neck profile

Next, what neck profile do you prefer? The neck profile refers to the cross-sectional shape of the back of a guitar neck. Since your fretting hand is in contact with the neck throughout most of your playing, finding a shape that feels natural is very important.

When you’re just starting out, this can feel a bit confusing, especially since it’s a preference you’ll develop over time. A standard C-shaped neck profile is always a safe bet. It’s neither too thick nor too thin and is an ideal starting point. On the other hand, if you’ve played guitar before or already own another instrument, consider what neck profile it has and whether you’ve gotten along with it. If so, it’s usually worth sticking with something similar, if not the exact same profile.

3. Pickups

Lastly, and my favorite decision to make, is choosing what pickups to go for. Do you want spanky single-coil pickups that are bright and articulate, or are you a metal player looking for tight, high-gain humbuckers that can really push an amp? Pickups make up a huge part of your overall electric guitar tone when plugged in.

Whether you’re looking for versatility in an HSS configuration or the midrange bite of a P-90, it’s worth taking your time with this decision. After all, we play guitar to make music, and the amplified tone is a big part of why we choose electric guitar in the first place.

FAQs

Key terms

• Action: Refers to the height of your guitar strings in relation to the fingerboard.
• Alnico: An acronym of aluminum, nickel, and cobalt, and a type of magnet used in guitar pickups.
• Bridge: The piece of hardware on an electric guitar that anchors the strings to the body. It can either be a floating tremolo system or fixed so it does not move.
• Ceramic: A type of magnet used in guitar pickups made from ceramic material, known for higher output and a brighter, more aggressive tone.
• Coil split (coil tap): An electronic function that shuts off one coil of a humbucker to produce lower-output, single-coil-style tones. (Note: “coil tap” is technically different, but is often used interchangeably in guitar marketing.)
• Compound radius: A fingerboard radius that changes along the neck, typically starting rounder near the nut and flattening out toward the higher frets.
• Fret sprout: Occurs when fret ends protrude past the edges of the fingerboard, usually due to wood shrinkage in dry conditions, creating a sharp feel along the neck edges.
• Hardtail: A fixed bridge system with no tremolo movement, anchoring strings directly to the body for tuning stability and simplicity.
• Import: A guitar manufactured in one country and sold in another, typically used to describe more affordable production-line instruments.
• Intonation: The adjustment that ensures a guitar plays in tune across the entire neck. Poor intonation means notes may be in tune open but sharp or flat when fretted.
• Locking tuners: Machine heads that clamp the string in place at the post, reducing slippage and making string changes faster and more stable.
• Mod platform: A guitar that is particularly well-suited to aftermarket modifications.
• Nut: A small strip at the top of the fingerboard that guides string spacing and height as they leave the headstock and enter the playing area.
• Potentiometer (pot): A variable resistor used in guitar electronics, typically controlling volume and tone.
• Radius: The curvature of the fingerboard. A smaller radius feels rounder, while a larger radius feels flatter.
• Roasted maple: Maple wood that has been heat-treated to remove moisture and resins, increasing stability and giving a darker, ‘baked’ appearance and smoother feel.
• Rolled edges: Fingerboard edges that have been gently smoothed to remove sharpness, making the neck feel more broken-in and comfortable.
• Scale length: The distance between the nut and the bridge saddle.
• Setup: The process of adjusting a guitar’s action, intonation, neck relief, and hardware to improve playability.
• Stainless steel frets: Frets made from stainless steel instead of traditional nickel silver, offering increased durability and smoother bending.

How we test

We are very aware that so much of an electric guitar comes down to personal preference, but that said, there are still a few key criteria that a guitar must meet for us to consider recommending it to our readers.

As you'd expect, the first and probably the most important is build quality. When putting a new six-string through its paces, we'll thoroughly check every element of the build, from head to tail-piece, to ensure it feels robust. We are checking to ensure the neck is fitted correctly, that the hardware feels solid, and of course, that there are no electronics issues. Once we are satisfied, we will move to the guitar's overall finishing, looking for any anomalies in the paintwork.

Next up is playability. A guitar must be playable straight out of the box. Yes, we will accept that slight adjustments may need to be made to the action to meet our personal tastes, but the guitar should be in a playable state when we first try it.

We will check how comfortable the neck is, as well as how well the frets have been fitted - no matter the price point, we will not accept shoddy fret ends.

Lastly, we'll look at tone. Again, this is very subjective, but we are looking to see if the guitar lives up to the manufacturer's claims and is fit for purpose.

Read more on how we test gear and services at Guitar Player.

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Formed 40 years ago, Oklahoma’s Flaming Lips have always embodied a strong experimental/psych approach to their music.

Given that they covered The Dark Side of the Moon in its entirety in 2009, there is little doubt where their roots lie.

Frontman Wayne Coyne has been an ever-present member since founding the band, sharing guitar duties first with Ronald Jones, and now with guitarist and multi-instrumentalist, Steven Drozd, who originally joined the group as a drummer.

Jones was deeply into experimentation with signal processors, looking for ways to redefine the typical parameters of the guitar in a rock band.

And while Drozd was playing drums in the band, he was also laying down rhythm guitar tracks and collaborating on songwriting, so his shift into the guitar seat when Jones left in 1996 was a no-brainer.

Jones’ sound was built on the use of Eventide Harmonizers mixed with a plethora of sonic shapers to obtain otherworldly tones that provided a key component of the band’s signature sound.

Drozd quickly acquired a formidable arsenal of effects when he replaced Jones, and – influenced by Jimmy Page – worked in altered tunings, which added yet another line of attack to the band’s songwriting process.

A fan of single-coil guitars, Drozd favors vintage Jazzmasters and an old Fender XII. His use of the XII was inspired by Page, once he realized that it was Page’s 12-string of choice for Zep’s albums.

The last Flaming Lips album with Jones onboard, 1995’s Clouds Taste Metallic, was the band’s most fully realized encapsulation of their psych-meets-alt approach, but for many, the definitive Lips album is 1999’s The Soft Bulletin.

On it, Drozd carves out his own distinctive niche in the band’s sound and stamps his identity firmly on their music – no mean feat with the big shoes of Jones to fill.

Unlike many bands who have dabbled in psychedelia before returning to their original mission statement, the Flaming Lips have remained unwaveringly true to their original artistic vision.

Browse the Flaming Lips’ catalog here.

Gibson has been on an impressive winning streak the past few years, and things clearly haven’t let up in 2022. As we head into the fall, the company continues to roll out new and exciting equipment – and not just under the Gibson name, but also via its other brands, including Epiphone, Kramer, Maestro, and Mesa/Boogie. 

To get a handle on just some of this great gear, Guitar World’s Paul Riario and Alan Chaput shined a spotlight on five new products from the Gibson family.

First up is a powerhouse offering from Epiphone – the Power Players Les Paul and SG. Trimmed-down versions of the Les Paul and SG models, the guitars boast 22.73” scale lengths and slightly smaller mahogany bodies, making them easy to play and an ideal option to learn on for younger guitarists. 

Other features include a bolt-on mahogany neck with a sculpted heel for improved upper fret access and a pair of Epiphone 650R and 700T ceramic humbuckers for rich, full tone. Finally, the guitars come complete with a variety of finish options and a gig bag, strap, picks, and a guitar cable. It’s a package that makes the Power Players the perfect guitars to get you playing now and forever.  

Next, Paul and Alan take a look at the new Kramer Striker, a guitar that is built for serious speed. The high-performance, shred-ready axe features a satin-finished maple neck with a Kramer K-Speed SlimTaper C profile for fast, easy, and incredibly comfortable playing. Electronics-wise, you get three Alnico 5 pickups – a zebra-coil bridge humbucker and two single coils – for everything from sparkling cleans to hard-rocking, heavily-overdriven humbucker crunch. 

Other features include a variety of hot finishes, an optional hardshell case and, of course, a licensed Floyd Rose locking vibrato for all your dive-bombing desires. 

Looking for a cool fuzz to go with your hot licks? Allow Paul and Alan to introduce you to the brand-new Maestro Fuzz-Tone FZ-M. If this little effects unit sounds familiar, that’s because it is. Back in the ‘60s, the Maestro name became synonymous with guitar effect pedals, debuting with the FZ-1 Fuzz-Tone – the sound of the Rolling Stones’ “Satisfaction.” Now the company is back, and its first offering is an updated version of that iconic pedal. 

The new all-analog FZ-M offers up an FZ-1-inspired fuzz sound, but you also get a three-knob control layout (Attack, Tone and Level), and an innovative Mode toggle switch that provides two-in-one functionality for both classic fuzz and a thicker, more modern tone. 

And it’s all controlled via a true bypass footswitch that, in a very cool touch, also triggers the LED lights in the bugles in the Maestro logo, so that you always know when the pedal is active. 

Next up in our roundup is a killer amplifier from Mesa Boogie: the California Tweed 6V6 2:20. The new amp expands on the success of Mesa’s larger-sized and higher-powered California Tweed 6V6 4:40 model, which set a new standard of performance from a simple, vintage-inspired “single channel” design by providing five power-amp voicing and output levels from a simple “Multi-Watt” rotary switch.

The 2:20 offers vintage-voiced tube amp sound and feel in a choice of 20, 10, or 1-watt power configurations, and also boasts Duo-Class and Dyna-Watt technologies for two operating classes and three wiring options via a single 3-Way Rotary Switch.

Other features include two 6V6 power tubes and a preamp stocked with five 12AX7 and one 12AT7 preamp tubes, a single channel with Normal and Low Inputs, Gain, Treble, Mid, Bass, Presence, Reverb, and Master Controls, and Vintage All-Tube Spring Reverb with an external reverb switching jack for remote activation.

Finally, Paul and Alan bring it all back to the legendary Gibson brand, wrapping things up with a look at the new Les Paul Tribute in Satin Honeyburst. The updated model captures the vibe, feel, and tonality of a traditional Les Paul, but with a rounded maple neck profile and ultra-modern weight relief for super-easy playability. Features include a mahogany body, maple top, and a pair of 490 R & T humbucking pickups with Alnico II magnets for classic tone, power, and sustain.

You also get medium jumbo frets, an aluminum Nashville Tune-O-Matic bridge, and vintage deluxe tuning machines with keystone buttons, and in addition to Satin Honeyburst, the Les Paul Tribute is available in three additional classic finishes. As Gibson likes to say, it’s “all the guitar you need, and nothing less.”

For more information on all these great products from Gibson, Epiphone, Kramer, Maestro and Mesa/Boogie, check out the video above.

Joe Bonamassa holds a special place in his heart for the ES-335. 

After purchasing a red 1962 Gibson model in the mid-‘90s he put it to good use recording his debut solo album, 2000's A New Day Yesterday.

“That debut record we made, A New Day Yesterday, was a college education for me in how to record – and a lesson in music history, too,” Bonamassa told Blues Blast.

Launched in 1958, the Gibson ES-335 set a benchmark for all semi-hollow electric guitars that followed.

In 1962, small block inlays replaced the earlier ‘dot neck’ design, and this iconic look appears on the new Epiphone Joe Bonamassa 1962 ES-335.

Originally offered in either Sunburst or Natural, Gibson’s luscious Cherry finish became an option for 335 orders by 1960.

A popular choice ever since, Bonamassa’s new signature model is decked out in a cool retro Sixties Cherry finish.

When the 335 first arrived, it sported a pair of Gibson’s groundbreaking PAF humbuckers. Along with its maple center block and laminated maple construction these pickups helped give the guitar its unique voice.

Capturing that classic PAF-style tone, Bonamassa’s new Epiphone ES-335 has been fitted with a pair of Gibson BurstBuckers (a BurstBucker 2 in the neck and a BurstBucker 3 in the bridge.)

Commonly used in both the neck and bridge positions, Gibson BurstBucker 2s have a medium output, whereas Gibson BurstBucker 3s are overwound and hotter, making them an ideal bridge pickup choice.

BurstBuckers are not wax potted and are renowned for their open, airy sound – much like a typical vintage Gibson PAF humbucker.

Utilizing high quality CTS pots and Mallory tone caps along with a Switchcraft pickup selector and jack, Bonamassa’s new 335 allows these popular Gibson ‘buckers to shine.

The Epiphone Joe Bonamassa 1962 ES-335 story is an interesting one. Many of us guitar players pine for ‘the one that got away,’ and such was the case with JB’s original ’62 Gibson.

In an effort to help fund his move from New York to Los Angeles, the guitarist regrettably sold this treasured axe in 2001.

But by a strange twist of fate, Bonamassa was able to reunite with his long-lost companion many years later. 

This time around, however, he made a promise to himself that his prized 335 would stay by his side for the rest of his days.

Priced $1,299, the Epiphone Joe Bonamassa 1962 ES-335 is shipping now with a custom hardshell case and certificate of authenticity.

Visit Epiphone for more information.

Oasis and High Flying Birds fans will give you it straight: just because everybody all knew that Gibson and Epiphone signature electric guitars for Noel Gallagher were coming, doesn’t make it any less exciting when they arrive. 

Where is best to start with the replicas of two of the most important guitars in Gallagher’s collection? 

The 1960 Gibson ES-335 had been long been scheduled for release today. The Epiphone Riviera was coming for sure, having been none-so-subtly leaked across Gibson and Epiphone’s social media – as if guitar nerds would not notice it photobombing the ES-355 in the studio pic. C’mon! 

Perhaps we should take them in rank order; the Riviera is the “Don’t Look Back in Anger” guitar, but the ES-335 has been his number one live guitar for yonks. That’s the logical starting point, and limited to 200 units worldwide, you’ll have to get in quick before it’s gone. 

It looks phenomenal. Resplendent in Sixties Cherry with its Custom Shop tux on, the ES-335 has been aged in the Murphy Lab and, much like Gallagher’s original, is a collector’s piece. According to Gibson, Gallagher thought his ES-355 was “too nice” to play. But then again, it was too nice not to.

Its body comprises laminate plain maple on the top, back and sides, which is braced with red spruce and has a maple centerblock to nix feedback. 

The five-ply binding to the body’s top and headstock, triple-ply on the back with a bound neck really ties the look together, pairing nicely with the MOP block inlays, bound tortoiseshell pickguard and aged gold hardware. Speaking of which, Gallagher’s ES-355 is outfitted with a Bigsby B7 vibrato, an ABR-1 bridge, and Grover kidney bean tuners.

Dimensions are familiar. It has a 12” radius ebony fingerboard. The scale length measures 24.75”. The ES-355 has a pair of unpotted Custombucker humbuckers in the neck and bridge positions, both with aged gold coverings. These are selected in customary style via three-way toggle switch (aged tip, naturally), with dual volume and dual tone controls joined by the gold-encircled Varitone switch.

Under the hood, the control circuit is all hand-wired, with Black Cat capacitors and 500K CTS since you asked.  And this coming from the fancy pants room at Gibson HQ, the Noel Gallagher ES-355 ships in a brown hardshell case lined with pink fur, inside which you’ll find a signature Bear strap, a lyric sheet and COA. 

Gallagher is impressed. “Fuck me, what a guitar!” he said in a statement. “I’ve actually sent my main one back to storage, something I haven’t done since the day I bought it… That’s how good it is!”

All this did not happen overnight. As Lee Bartram, EU head of marketing and cultural influence EMEA at Gibson Brands, notes, the ES-355 was a decade in the making.

“This is the guitar associated with Noel Gallagher since the late 1990’s, we have taken our time over the details, we have worked closely with the artist and we have produced not only a truly remarkable recreation of the original but also a beautiful instrument which can be appreciated by all,” he said. “Gibson Custom continue to push the boundaries of what can be done with new guitar production, this project is has been a labor of love for over 10 years and I’m extremely proud of what has been produced by amazing artisans in Nashville.”

That’ll be why it is $9,999 then. But if the Murphy Lab ES-355 is a little steep, here’s some good news – Gallagher’s Epiphone Riviera retails for more manageable $899, and looks the business in Dark Wine Red.

Also, not to contradict Bartram, but you could make a case for the Riviera as being the Noel Gallagher guitar, at least for Oasis super-fans; the Riviera was a ubiquitous choice for Gallagher back in the ‘90s, when Oasis were packing them in at Knebworth and turning up to rock out on David Letterman.

Like the original, this foregoes the mini-humbuckers in favor of full-sized humbuckers, with a pair of Epiphone Alnico Classic PROs occupying the neck and bridge positions. These are controlled by two volume, two tone controls, and selected via a three-way toggle switch. 

Epiphone has gone all in on making these look as close to the original as possible, with the color all but matched to the original, with historically accurate Epiphone “E” branding on the white pickguard and white truss rod cover plate.

Like Epiphone’s other flagship artist models, Gallagher’s Riviera has a nickel LockTone Tune-O-Matic bridge and stop bar tailpiece. The label inside the soundhole is brown to heighten that vintage vibe.

As for the fundamentals, the Riviera has a five-ply maple body, with single-ply binding on top, back and fingerboard, a set neck with a SlimTaper C profile and volute, an Indian laurel fingerboard with  Epiphone Premium die cast tuners with oval metal buttons. Gallagher’s signature can be found on the back of the headstock

It ships in a hard-shell case and there are left-handed models available. For more information, head over to Epiphone and Gibson.

Gibson has confirmed an August 30 launch date for its much-anticipated Noel Gallagher ES-355 Custom, the latest signature guitar collaboration between the brand and the High Flying Birds frontman and former Oasis guitarist.

The announcement, via Instagram, arrived just over a year after the launch of Gallagher’s limited edition Gibson J-150 acoustic. 

But the speculative among you might also have reason to believe that there is another Gallagher signature model in the works – an Epiphone Riviera, the likes of which Gallagher most famously played when Oasis appeared on David Letterman in 1995.

The principal source – as ever with breaking Gibson brand news stories – is Gibson brand president Cesar Gueikian’s Instagram account, where he likes to throw in a cheeky reveal every now and again to get folks excited about a new guitar.

In recent weeks, we have seen him tease a double-cutaway electric guitar model, the first evidence that there might be Murphy Lab acoustic guitars in the works, and opine out loud that Gibson might relaunch the Moderne after Metallica’s Kirk Hammett was photographed playing an “experimental prototype” onstage at BottleRock Napa Valley this summer.

Sure, Gueikian jamming on an Epiphone Riviera could just be a coincidence, but when Gibson post a picture of Noel Gallagher in the studio with his new ES-355, in the background you can see his signature J-150 on the left, an Epiphone Riviera on the right, with Gibson director of brand experience Mark Agnesi giving the game away, commenting, “That 355 is rad, but tell me more about that Epiphone on the far right.”

All will be revealed soon enough, and we certainly would not bet against Gibson making it a twofer on August 30 – officially launching the ES-355 Custom with a Gallagher signature Riviera as a chaser. 

Need more convincing? Take a closer look at the picture at the top of the page. That Riviera is equipped with standard-size humbuckers, just like – that’s right – Mr Gallagher’s.

John Lee Hooker’s career began in Clarksdale, Mississippi, during the 1930s. Unlike his blues guitar contemporaries Muddy Waters and Robert Johnson, Hooker didn't play roll-and-tumble Delta jukes, choosing instead to launch his career in Memphis, singing gospel and blues.

He moved to Detroit after World War II to work by day in an auto plant and make the rounds of Black Bottom clubs by night. 1948's "Boogie Chillen'," his first R&B hit, inaugurated the most prolific recording career in postwar history. (It's estimated that between 1949 and 1953 alone, Hooker cut some 70 singles on 24 different labels, using a dozen different names to avoid contractual problems.) 

Hooker made his first foray into Europe in '62 and returned to find that "Boom Boom" had become his first crossover hit. Covers by the Animals and other British Invasion bands helped him win white audiences at home. 

Here he is performing "Boom Boom" with the Groundhogs live on BBC television in 1964:

The following John Lee Hooker interview extracts originally appeared in the August 1992 edition of Guitar Player…

Your songs turned a generation of kids on to the blues during the 1960s.

That "Boom Boom," that "Dimples" – turned a whole generation. It went to Europe, and then come back here and turned the whole universe on. Then different artists took to doing that song, "Boom Boom."

What do you look for in a tone?

I look for a deep, gutty feeling. I don't use picks, so I can get that deep gut feeling. People ask, "How do you get that?" It's just there. A lot of people try to play real fast chords – da da da da da – that's not the blues. It's synthetic. It ain't the hard, solid blues. It's a lot of speed and everything. It has no feeling to it.

You've got to sit down and play some [whispers] funky, funky guitar. Take your time! Don't rush it. Just let it come flowing through you. I can play guitar so funky, until it brings teardrops to your eyes. It has that funky, funky tone. I'm just me.

While most musicians stick to 12-bar blues, you seldom follow that format.

That's for the birds. People just feel – that's the way the blues is supposed to be played. Shut your eyes, and then you'll know what you're doing. I know what notes to hit. I know what notes not to hit. I can do a 12-bar perfect – perfect. Oh, yeah. If I did, then I wouldn't be John Lee Hooker.

See, I'm known for not doing it. When I'm just playing to myself I do it: 8, 12, 4, 16, 24. But ordinarily I don't do it, because it would take away a lot of my feeling. You cannot learn this in a book. You feel it here [points to his heart and head], not by writing on a piece of paper. Throw that paper away!

When I walk into a studio, I don't need all that stuff. I can go into a studio and in two hours' time I can record five or six songs. Sometimes it takes some people three or four weeks to record one or two songs!

Is it a compliment when people try to play like you?

Yeah, it is. Because I know I'm doing something to be loved.

Perhaps the measure of a truly great man is how he treats people day in and day out.

Right! The little things in life, the love. I always believe in "it comes back to you if you do something good." I was taught that, and I think it does. You do good deeds, somewhere in life it's going to come back. 

You can only do wrong so long before you get it in some kind of way. That's my belief. So I'm happy with my life. I had a good life, and I had a rough life – I've had both. 

I don't try to live in the past. I can't bring back those little things. I can't change the rough things that come through, so I look for the future. You can't live in the past – a lot of people try to live in a memory. 

I live for today and for people today.

Explore John Lee Hooker's catalog here.

While staying true to her unique rock ‘n’ roll vision Joan Jett has remained a role model for countless musicians since the ‘70s. Breaking down doors in the early days with the Runaways, Jett went on to form the Blackhearts in 1979 – the band with whom she continues to tour.

Bolstered by their anthemic number one single “I Love Rock 'n' Roll” the Blackhearts went on to achieve multiplatinum success and were inducted into the Rock and Roll Hall of Fame in 2015.

A bona fide icon of rock ‘n’ roll, Jett has now been honored by Epiphone in the form of the Joan Jett Olympic Special signature electric guitar.

Based on one of Jett’s favorite stage guitars, the Epiphone Joan Jett Olympic Special features a solid mahogany body and neck with a 22-fret, dot inlay Indian Laurel fingerboard.

A single PowerHammer PRO pickup delivers classic rock ‘n’ roll tone in spades and is simply wired to a high-quality CTS pot for volume control. A handy two-way kill-switch allows for stuttering effects and muting.

Hardware includes tough die cast tuners and an adjustable, sustain-enhancing wraparound bridge. Nickel-plated hardware and an Aged Classic White finish complete the guitar’s retro look.

With its classic, understated design this back-to-basics rock machine is lightweight but hits heavy.

“What attracted me to guitar was just being able to make that kind of noise and have control over it,” says Jett. “The point is to make it your vision and voice. Being true to your music is really about owning who you are. My guitars have become an extension of who I am.

“I want girls and guys everywhere to be fearless about picking up a guitar. Anyone can play rock ‘n’ roll and make it authentic.”

Our first impulse when picking up the handsome new USA-built Epiphone Casino was to play some Beatles, Oasis and Kinks riffs, and man, does it ever deliver that classic British rock sound: spanky, resonant and woody, with that touch of chambery depth that only a proper hollow-body guitar can really capture. Even unamplified, it’s unmistakable and iconic, and this new USA Casino – the first to be built in the U.S. since 1971 – absolutely nails what makes the Casino great. From McCartney to Weller to Gallagher, we know what a Casino can do, right?

Well, it would be a mistake to continue to pigeonhole the Casino as strictly a guitar for British-inspired power pop, no matter how ably and powerfully it works in that context. That is especially true of a Casino as premium as this model, which is a huge improvement over more recent Asian-made Casinos. Keep in mind, this is essentially a Gibson 330-style guitar with high-output single-coil P-90 pickups, so while it’s naturally a little more wily and open sounding than, say, a 335, when played through a cranked tube amp, in most other contexts the Casino can ably handle a lot of the same basic territory, with a wild edge of its own.

Likewise, the two Gibson USA Dogear P-90 pickups here may not be some bluesmen’s first choice, though they’ve been a key go-to for T-Bone Walker, Freddie King and, lately, Gary Clark, Jr. and Joe Bonamassa. However, they give licks and rhythms a very pleasing midfrequency spread and a dynamic, hard-to-peg character, making the USA Casino a wicked electric blues guitar, full of character and punch, but with great detail and grit as well. (Ditto for non-Brit rock and roll. Look to the Strokes’ Nick Valensi for evidence of its stateside power.)

At lower volumes, or through clean-headroom amps like those made by Henriksen, AER, Brute and others, the USA Casino is a hip, lean alternative to a conventional hollow-body archtop for sets of jazz standards, with plenty of body and vintage character. Chime and punch? Sure, and plenty more.

Unboxing the light, captivating USA Casino was a treat from the outset, given the fairly luxurious Epiphone hard case that it ships with, and it just feels like the premium U.S.-built instrument it is. Our review model boasted the Royal Tan nitro lacquer finish and nickel pickup covers. (It also comes in a yummy Vintage Sunburst finish with black Dogear pickup covers.) Those two P-90s, mind you, are Gibson USA P-90s, featuring vintage-style braided two-conductor wiring, and they’re wax potted to minimize the potential for microphonic feedback. More on that in a minute.

The solid-mahogany, 22-fret, rounded-C neck shape is topped with an Indian rosewood fingerboard, kissed by those fantastic acrylic parallelogram fret inlays, and comfortably laid out with a 12-inch neck radius over a scale length of 24.75 inches. It’s an exceedingly comfortable neck and, even without any special setup, was balanced, with fine action and zero buzzing. It felt natural and smooth to fan out over the entire breadth of the fingerboard. In fact, perhaps due to the 12-inch radius, and assisted by the 1.69-inch Graph Tech nut, stretches from the 17th to 22nd fret translated as even and solid, whether for triads, double-stops or more-ambitious voicings.

There’s also a nice way that the quarter-sawn spruce binding on the hollow body seems to “talk” to the neck as you play. Your left hand senses that this neck is attached to a slim hollow body, and so your hand is informed by that. It’s subtle, but noteworthy, and no doubt the Gibson ABR-1 Tune-o-matic bridge and Thinline Trapeze tailpiece play their roles in that, too. The artfulness of that body cut is palpable, as well. Perhaps that three-ply maple/poplar/maple top, back and sides just wanted to be carved, but there’s a contoured, roundness to the way the USA Casino feels tucked under your arm, and while not a small body, by any means, it doesn’t feel so big once you’re playing it. But man, it sure sounds big.

We ran the USA Casino through three distinct amp rigs: a Victory V4 The Duchess with 1x12 Neodymium cabinet, a Suhr Badger 30 with 1x12 cabinet, and a Line 6 HX Stomp with various amp models chosen to reflect the vintage Vox amps with which the Casino really made its bones. In the case of the two tube amps, the sound was big and lively even clean, with the bridge position giving some nice subtle grit and the sound mellowing considerably on the middle blend and neck positions. The neck pickup is quite full in the lows and low mids. Roll the corresponding tone pot down just a little – one of four hand-wired controls with Orange Drop capacitors – and you’ve got a vintage jazz box in hand.

Despite knowing that the P-90s are wax potted, we were still concerned about possible microphonic feedback at louder volumes and with pedals. There is definitely some element of acoustic air in the sound, and especially with a distortion pedal on – in this case, switching from TS-9 to DS-1 to ToneBender-style sounds – you’re going to need to control this thing by judicious use of your right and left hands to dampen the strings. The plus side is that you’ve basically got a built-in EBow with this guitar – a little drive or fuzz, and you can sustain a note for days. The neck and body just vibrate. In other words, the guitar really talks and responds to the sound and vibrations coming out of your amp.

That said, we found the Casino to maintain its rich, spanky sound through the Line 6 HX Stomp’s various Vox-inspired amp models and a pair of studio monitors, though feedback was not an issue at all in that environment. From chugging Oasis-approved cowboy-chord rhythms to fat “Day Tripper”- style riffs, there was really nothing in the canon of British pop-rock that didn’t sound authentic with the USA Casino through a high-level amp modeler.

Gibson’s decision to reappraise the role of the Epiphone Casino in its product line, and to bring its manufacture back to the U.S., is no small matter. Before this year, you’d pay anywhere from $5,000 to $15,000 for a vintage USA-made Casino, as you’d be looking at a 1961 to 1970 model at the latest. As for the many lesser pre-2019 Epiphones knocked out by Gibson’s previous regime, you can easily find one for under $700, and they’re attractive enough and they’ll do the job.

Still, the new Epiphone USA Casino strikes us as an entirely reasonable deal if the Casino as a Platonic ideal is calling out to you. This American beauty is stunning to look at, a joy to play and record with, and an investment worth making whether you rock a mop-top or not.

Specifications:

• NUT WIDTH 1.69” bone
• NECK Solid mahogany
• FRETBOARD Indian rosewood, 24.75” scale, 12” radius 
• FRETS 22 medium jumbo
• TUNERS Nickel-plated Vintage Deluxe
• NUT Graph Tech NuBone
• BODY 3-ply maple/poplar/maple with nitrocellulose lacquer finish
• BRACING Quarter-sawn spruce
• BINDING Single-ply cream
• BRIDGE/TAILPIECE Gibson ABR-1 Tune-o-matic with Thinline Trapeze tailpiece
• PICKUPS Gibson USA P-90 Dogear single-coil (x2)
• CONTROLS Volume (x2), Tone hand-wired with Orange-Drop caps (x2), 3-way toggle pickup switch
• FACTORY STRINGS Gibson .010–.046
• FINISHES Royal Tan (reviewed), Vintage Sunburst
• BUILT USA

We know that you know that tone is in the hands. Still – like watching Lewis Hamilton drive a cheap, compact car – it's always a blast to watch an electric guitar hero take flight, and sound just like themselves, on a relatively cheap rig. 

Such is the case in this video from August, which shows blues guitar master John Mayer nailing his slow-burn classic, "Gravity," with a youth band. 

Shot on August 8 at LA's Fernando Pullum Community Arts Center, and posted to Instagram by the Center's Executive Director, Fernando Pullum, the video shows Mayer – armed with an Epiphone Les Paul through either a small Roland or Fender combo – playing the song's gorgeous intro perfectly.

Now, such a rig is nothing to be ashamed of. It's just that Mayer's usual setup consists of his signature PRS Silver Sky and guitar amps from the likes of Dumble or, more recently, Fractal amp modelers. 

Though Mayer kindly cedes the solo to one of the students backing him, you can hear from the intro that – even with gear most commonly associated with beginners – his playing doesn't lose one bit of its extraordinary expressiveness and vibrato.

We can think of few better ways, as a guitar student, to learn the "tone is in your hands" lesson than seeing a master prove the adage true firsthand...

Green Day’s Billie Joe Armstrong is one of the music world’s most prominent Les Paul Junior devotees having used the classic single P-90 pickup guitar for decades.

Having formed in the late ‘80s Green Day went on to sell millions of records, picking up several Grammy Awards along the way as their earworm cuts became the soundtrack of a generation.

In recognition of Billie Joe Armstrong’s dedication to the humble Les Paul Junior, Epiphone have just announced the Billie Joe Armstrong Les Paul Junior, complete with the guitarist’s autograph emblem on the headstock rear and a snazzy faux leopard fur-lined hardshell case.

“Working with Billie Joe Armstrong over the years has been an absolute honor for our team,” says Aljon Go, Epiphone Product Manager. “The new Epiphone Billie Joe Armstrong signature guitars will help inspire a whole new generation of guitarists with an accessible, quality instrument to blaze their path in making music, just as Billie has throughout his Grammy Award-winning career.”

Although the Les Paul Junior model was originally released by Gibson in 1954 as a student model it has long been used by professional guitarists, particularly hard rock and punk players. Indeed, with its high-quality electronics including a Pro P-90 pickup and CTS pots this new Epiphone model is a capable tool for any stage.

Gibson's golden era Les Paul Junior was revamped with a double-cutaway in 1958 and the Epiphone Billie Joe Armstrong Les Paul Junior boasts the original single-cutaway mahogany slab body design. It’s glued-in mahogany neck with comfy Vintage 50s profile has been capped with a 22-fret Indian Laurel fingerboard featuring a bend-friendly 12-inch radius.

Priced $549 the Epiphone Billie Joe Armstrong Les Paul Junior can be purchased via Epiphone’s website.

Also available is the $399 Billie Joe Armstrong Les Paul Junior Player Pack. Comprising a bolt-on neck version of the guitar; 15 watt Epiphone 15G amplifier; gig bag; guitar strap; cable; electronic clip-on tuner; and three Epiphone picks this all-in-one bundle has everything required to start playing immediately.

The semi-hollow guitar is a dichotomous instrument that sparks curiosity in every guitar player at some point or another. Its combination of electric and acoustic properties offers you some of the qualities of each, although you should know that even the best semi-hollow guitars aren't really a good replacement for an acoustic guitar. Instead, you should think of a semi-hollow guitar as an instrument that is predominantly electric, but offers some of the resonance and warmth of an acoustic that sets them apart from a standard solid body.

Semi-hollow guitars are defined by having a hollow cavity in the wings of the body, with a solid block of wood running through the center where the pickups are mounted. That block is there to combat the feedback that hollow-body guitars are notorious for, which makes them difficult to control at high volume. Semi-hollows handle that far better, which is why they have been the choice of so many players over the years, from Chuck Berry to Tom DeLonge.

I have been playing guitar for over twenty years and working in the guitar industry for around a decade, which means I have encountered more than my fair share of semi-hollows, and it’s this real-world experience that has informed the picks in this guide. If you want to treat yourself, it is hard to ignore the Gibson ES-335, an absolute icon of the semi-hollow world that has earned its place in history. If you are on a tighter budget, the Ibanez Artcore AS53 has been a best-seller since it first appeared, proving you do not need to spend big to enjoy semi-hollow magic. If you want a guitar that’s somewhere in the middle of these two, then you should cast your eye upon the amazing Epiphone Dave Grohl DG-335, which is a brilliant intermediate option.

In this guide you will find a selection of handy section that can help guide your buying decision if you’re new to semi-hollow guitars. I’ve curated a how to choose section that details the thought process behind buying a new guitar, as well as a comprehensive FAQs which answers all the most common questions guitarists have asked me about semi-hollows. Finally, there are some specific terms related to semi-hollow guitars that are important to know, so you can check these out in the glossary of key terms.

Best overall

Overview: The most famed semi-hollow of them all deserves special treatment, and it gets it here. Since its inception in 1958, the Electric Spanish 335, to give it its proper name, has been wielded by players as diverse as B.B. King and Billie Joe Armstrong, and its contribution to music cannot be understated.

Build quality: The AAA-figured maple finish offers stunning depth, and this model’s maple center block and Adirondack spruce bracing make it acoustically louder, which translates to a more open plugged-in experience. The premium treatment extends to a lightweight aluminum ABR-1 bridge and stopbar tailpiece, anchored with steel thumbwheels and studs.

Playability: The ES-335 has always had a reputation for being one of the most comfortable semi-hollows to play, and this model keeps that tradition alive. The rounded “C” mahogany neck sits in the hand nicely, offering enough substance without feeling cumbersome, while the 12-inch rosewood fingerboard radius and medium jumbo frets make bends and chord work equally smooth.

Sounds: Instead of ’57s, it comes with medium-output calibrated T-Type humbucking pickups, but they provide a perfect showcase for an ES-335 and reveal the expression on tap here: warm without a hint of muddiness, but touch-sensitive with bite when overdriven.

Best budget

Overview: The Ibanez Artcore series has long been a popular alternative to brands such as Epiphone, and the AS53 is one of the most affordable options for players seeking a slightly smaller body that does not compromise on tone.

Build Quality: Featuring Linden and Nyatoh tonewoods on the body, back, sides, and neck, this guitar is striking to look at. The Tobacco Flat or Transparent Black finish highlights the elegance of the body shape without being flashy.

Playability: The AS53 is a comfortable guitar to wield, with its slightly smaller body size making it less bulky than many traditional semi-hollows. The bound rosewood fingerboard feels smooth under the fingers, and the slim, fast-playing neck profile is what Ibanez is known for. Whether you are strumming chords or running lead lines, it offers an easy playing experience that suits beginners and experienced players alike.

Sounds: Equipped with a set of Infinity R Ceramic Humbuckers, this guitar sounds just as good as it looks, delivering the warm, creamy tone you would expect from a semi-hollow. If you are longing for hollow-body character without breaking the bank, the Ibanez AS53 Artcore should be high on your list.

Best mid-priced

Overview: Foo Fighters fans around the globe were giggling with glee when Epiphone announced a production-line replica of Dave Grohl’s signature DG-335. Originally released by Gibson as a premium Memphis-made model, finding one on the second-hand market was even less affordable. Now, this mid-priced Epiphone variant makes owning one achievable without sacrificing quality or materials.

Build Quality: Instead of a pure maple body, Epiphone has opted for a double-bound laminated maple and poplar construction with a one-piece mahogany neck and laurel fingerboard. Like Grohl’s original, this guitar blends an ES-335 body with Trini Lopez details, such as diamond F-holes, split-diamond inlays, and a Firebird-inspired headstock. Epiphone has absolutely nailed the Pelham Blue finish, and overall, it is a stunning reproduction.

Playability: The DG-335 uses an Elliptical C-shape neck profile, slightly chunkier and wider for digging into chords. It fills the palm more than a standard SlimTaper or modern C while still remaining comfortable for lead work. One thing to note: the combination of the Firebird-style headstock and ES-335 body gives it a long overall length, which can feel a touch unwieldy for shorter players.

Sounds: The most exciting inclusion is a set of Gibson USA Burstbuckers, with a Burstbucker 2 in the neck and a Burstbucker 3 in the bridge, exactly like Grohl’s original. Plugged into an AC30 or Mesa/Boogie, you get an instantly recognizable rock tone that nails the Foo Fighters sound. It is perfect for Foo’s fans but also versatile enough to cover everything from bluesy riffs to hard rock staples.

Best T-Type

Overview: With plenty of enthusiasm and creativity still to give, Leo Fender, alongside George Fullerton and Dale Hyatt, founded G&L in the late 1970s. The G&L ASAT Classic is a refined take on Leo’s final single-cut bolt-on electric guitar design.

Build Quality: Offering fantastic value for money, the ASAT Classic Bluesboy is a semi-hollow guitar with a swamp ash body, classic 25.5-inch scale length, and either a hard maple or rosewood fingerboard, depending on the finish. Six individual brass saddles provide precise intonation, while 18:1-ratio tuners deliver excellent stability.

Playability: The Thinline design makes this an incredibly lightweight and nimble instrument. While the airy character of a semi-hollow is less pronounced due to the smaller body, the familiar T-style shape feels instantly comfortable and offers minimal resistance across a wide range of genres.

Sounds: A G&L alnico humbucker pairs with Leo’s Fullerton-made, high-output single-coil MFD (Magnetic Field Design) bridge pickup to create a versatile tonal palette. The humbucker’s emphasis on low end balances nicely against the single-coil, which delivers punchy midrange with enough bite to cut through a mix.

Best small body

Overview: Introduced in 2007, the Gibson ES-339 is a smaller version of the ES-335, intended for those who are more comfortable wielding a guitar with Les Paul-esque dimensions.

Build Quality: Smaller certainly does not mean inferior. The ES-339’s maple center block and quarter-sawn spruce bracing make it every bit a genuine downsized take on its bigger, older brother. The 3-ply maple/poplar/maple body feels solid and well put together, and details like the Grover Rotomatic machine heads and ABR-1 Tune-O-Matic bridge add to the sense of quality. It might be more compact, but it still carries the same Gibson craftsmanship and presence you would expect from the ES line.

Usability/Playability: The ES-339’s scaled-down body makes it a far more manageable guitar than its bigger brother, especially for players who find the ES-335 a little unwieldy. The slimmer lower bout sits neatly against the body, and the double-cutaway keeps the upper frets within easy reach. Add in the rounded C neck profile and you get that familiar Gibson feel; substantial enough to dig into chords but comfortable enough for long sessions without fatigue.

Sounds: If the ES-339 feels like an ES-335 / Les Paul mix, then the ’57 Classic / Classic Plus humbuckers suit the platform with thick bridge position tones, open-neck character and an added twang to the mid position that enables more scope for chord jangle than you’d find on an LP. It’s a very inviting halfway house.

Best with trem

Overview: Founded in 1986 in Hannover, Germany, Duesenberg applies the same level of attention to detail in guitar making as its compatriots at Mercedes-Benz. Every piece of hardware is designed in-house, right down to the pot covers, built not only to look stunning but also to withstand the rigors of the road. The Starplayer TV is a semi-hollow single-cut guitar that showcases this ethos and features one of the finest tremolo systems available.

Build Quality: The first thing you notice when holding a Starplayer TV is how pristine it looks. Every angle has been carefully crafted, from the Super Smooth Z-Tuners to the signature D logo and chrome detailing on the Diamond Deluxe Tremola. It is visually tied together with an Art Nouveau vibe, but the Tremola is more than just a show; it delivers one of the smoothest actions on the market, incredibly responsive and a joy to use.

Playability: The Starplayer TV plays like a dream. Each model is run through a Plek machine to level the frets to within 1/100 of a millimeter. From there, the neck is hand-finished, with rounded fret edges and a rolled fingerboard that make it feel effortless in the hand.

Sounds: This guitar pairs a Domino P90 with a GrandVintage Humbucker, offering a wealth of tones. Both pickups are Duesenberg’s own designs, with a clarity and articulation that really stand out. The combination is as versatile as it is articulate, capable of covering a wide range of styles while maintaining supreme definition.

Also consider

For me, the above picks should cover most guitarists needs when it comes to semi-hollow guitars. If you didn't find what you were looking for though, here are some more great options for you to have a look at.

How to choose

If you’re reading this, chances are you have your eyes on a semi-hollow electric guitar. The good news? I have been helping musicians for the best part of a decade select a suitable semi-hollow for their tastes, budgets, and skill levels. Working in a guitar store means I have handled my fair share of semi-hollow guitars, and here are the top considerations you should acknowledge before making a purchase.

1. Body Shape

The most important factor you should consider is body shape. Today, semi-hollow electric guitars come in all shapes and sizes. When most people think about a semi-hollow electric, it will likely be a double-cut ES-335-style body they imagine. This is a highly popular shape, but it can be slightly on the larger side for some players.

However, brands like PRS, Sterling by Music Man, and Fender are taking traditional solid-body shapes and routing them into semi-hollows. If you’d prefer the more compact nature of an electric guitar but want to benefit from semi-hollow characteristics, then check out these options on our list. After all, if the body shape doesn’t work for you and feels uncomfortable, it won’t encourage you to play.

2. Pickups

As for the pickups, you will typically come across humbuckers for semi-hollow guitars. This is largely due to the nature of both ’buckers and these guitars’ construction. Semi-hollow guitars can sometimes suffer from feedback, particularly when using gain, and humbuckers are designed to minimize unwanted hum and noise. Humbuckers are warm, rounded, and great for classic rock.

However, particularly on smaller bodies, alternative pickups like single-coils and P-90s can be used. Take the PRS Special, for example, this HSH configuration guitar utilizes a single-coil, while brands like Gretsch and Duesenberg often like to experiment with P-90s. Single-coils are brighter, spankier, and slightly more articulate, while P-90s have more bite and attack. The pickup configuration you go for will be determined by how you would like to sound.

3. Tremolo or no tremolo?

Gretsch and Duesenberg are two brands in particular that love sticking a tremolo arm on a semi-hollow electric. This is the metallic arm at the bridge that, when pressed, produces a tremolo effect. Gretsch often uses Bigsby tremolos, while Duesenberg makes its own. Other brands do install a tremolo arm and they are common sights on semi-hollow electrics.

Deciding between a tremolo bridge and a hardtail will depend on your playing style. Are you likely to use the tremolo while playing? Do you want to have that option? If the answer is yes, then go for it. If it’s no, it may be worth getting a hardtail. After all, if you aren’t using it, it will more than likely just get in the way of your playing and can also be a bit trickier to restring.

FAQs

Key terms

• Archtop: A type of semi-hollow (or fully-hollow) guitar that has a curved wooden top, as opposed to a flat one found on a Stratocaster, for example.
• Bigsby: This is a brand of tremolo system widely used on semi-hollow guitars. The mechanism produces a smooth and often subtle tremolo effect.
• Center block: A center block is the solid piece of wood running through the middle of a semi-hollow guitar. It has two routed wings attached to either side.
• Coil-split: A coil-split is an electrical feature installed in a guitar that disables one half of a humbucker, allowing single-coil tones to be produced.
• F-holes: An F-hole is the ornamental design found on a semi-hollow guitar’s top; it is always featured on the ‘wing’, or hollow section of the top.
• Feedback: This is an audio loop produced when a guitar’s amplified sound is picked up by the pickups, resulting in feedback. It often sounds like a high-pitched howl.
• Hollow body: Unlike a semi-hollow with a center block, a hollow body guitar is fully routed, doesn’t have a center block and is fully hollow.
• Humbucker: This is an electric guitar pickup formed by two single coils being bunched together. The opposing polarities help reduce any unwanted hum.
• Laminated top: A laminated top is a type of composite wood made up of multiple thin layers of wood glued together to produce the top.
• Neck profile: Simply put, the neck profile is the cross-section of the back of a guitar’s neck. Usually described by letters, like ‘C’, ‘D’, or ‘U’, this gives an idea of the shape.
• P-90: Somewhere between a single-coil and humbucker, a P-90 is technically a single-coil as it has one wire coil, but with a much shorter and wider bobbin.
• Resonance: This is how your guitar’s body will vibrate to a particular frequency. Semi-hollow resonance is a little brighter and airier compared to a solid body.
• Scale length: This refers to the measurement of the guitar’s length between the bridge and nut.
• Set neck: Unlike a bolt-on neck, a set neck is glued into the body in a pre-cut pocket.
• Single-coil: A pickup design that uses a single magnet and coil of wire. They sound bright, clear, and snappy, but can sometimes pick up a little hum.
• Sustain: How long a note rings out once you play it. Semi-hollows usually have more natural sustain than fully hollow guitars, but a little less than solid bodies.
• Thinline: A term used for slimmer semi-hollow guitars. They keep the airy tone but feel lighter and easier to handle. It is a term coined by Fender and its Telecaster Thinline model.
• Tone block: The solid piece of wood running through the center of a semi-hollow. It adds sustain and helps keep feedback under control.

How we test

At Guitar Player, our expert team of guitarists is fully immersed in the world of guitars. With our deep appreciation for the unique tone and versatility of the instrument, we have extensively tested and played numerous guitars to identify the best semi-hollow guitars available.

To compile our list of top semi-hollow guitars, we combine our hands-on experience, meticulous research, and in-depth discussions with our editorial team. We carefully consider factors such as craftsmanship, playability, tonal range, and overall value to ensure we showcase the finest products on the market.

As dedicated musicians ourselves, we understand the importance of finding the perfect instrument that suits your playing style and musical preferences. Whether you're exploring jazz, blues, rock, or any genre that benefits from the warm, resonant tones of a semi-hollow guitar, our goal is to provide reliable and informed recommendations to help you discover the ideal instrument for your musical journey. With the best semi-hollow guitars in your hands, you'll have the tools to express your creativity and elevate your sound to new heights.

Read more on how we test gear and service at Guitar Player.

Related buyer's guides 

• Pair your new guitar with one of the best guitar amps
• Fancy a new LP? Check out the best Epiphone Les Pauls
• Plug in with one of the best guitar cables
• On a budget? Here's our list of the best electrics under $1000
• Expand your guitar playing horizons with the best multi-effects pedals
• Electric not your thing? Try our pick of the best acoustic guitars
• Check out the best Martin guitars
• Freshen up your tone with the best electric guitar strings

The introduction of the Epiphone Alex Lifeson Les Paul Axcess Standard is big news for Rush fans because it makes their hero’s signature model much more accessible than its premium Gibson predecessor, introduced a decade ago.

In the spirit of Epiphone and Gibson’s modern hand-in-glove coordination and the mother company’s longstanding relationship with one of rock’s premier players, this Epiphone represents a career’s worth of considerations and innovations.

Primary among them is the instrument’s tonal versatility. In addition to the coil-splitting capabilities of both magnetic pickups, it features a piezo bridge pickup that can either be accessed by means of a dedicated second output jack or summed with the magnetic pickups into the primary output.

As Lifeson explains to Guitar Player, this unique pickup configuration developed from his desire for an elegant solution to using an acoustic guitar onstage. “Switching from electric to acoustic was always cumbersome, and an acoustic on a stand became a beacon for uncontrollable feedback, particularly in acoustic parts repeated throughout the song,” he says.

“I really needed to have a more stable platform. Incorporating the piezo pickup on an electric guitar did that, as well as allow me to blend in the piezo, adding another dimension to the live guitar character.”

Visually, this guitar is a badass. The flame maple veneer on its carved Viceroy Brown-finished maple top conjures the vibe of a vintage Gibson Les Paul, albeit not quite as fancy. Appointments include four golden top-hat control knobs, trapezoid fretboard inlays, keystone tuners, cream binding all around, a set-neck glued into a solid mahogany body, and Lifeson’s signature etched in the truss-rod cover.

Beyond the pickup configuration, Lifeson-specific features include a Floyd Rose locking vibrato system and a neck profile built to his personal specs – “moderate, not too thick and not too thin.”

Sling it over your shoulder and, yeah, it’s heavy, but not particularly so for a Les Paul. A slight scarf cutaway on the top back makes it feel cozy against one’s belly, while a sculpted cutaway at the base of the neck allows for more comfortable playing in the upper registers.

The neck is full without being too plump, and the fretboard feels nice and smooth all the way up and down. The factory setup was spot-on as well, and while the action seemed almost too easy at first, there was no buzz or splat to be found.

Shred away in the short rows and every note on each string is actually usable. Power chords and barre chords in the middle range come readily, and cowboy chords in open position have fantastic jangle.

The Floyd Rose-style double-locking vibrato keeps everything in tune while facilitating the deep dives and sky-high lifts of Lifeson’s playing that can only be achieved with such a serious system. All that extra metal brings some brightness, sure, but that’s part of the signature sound too.

Speaking of which, the tonal diversity on tap is astounding. The Axcess Standard has Epiphone’s Ceramic Pro humbucker in the neck position and a ProBucker 3 near the bridge, and both can be split into single-coil mode with a lift of the corresponding push/pull volume knob.

In humbucker mode, the neck pickup is girthy and the lead pickup is edgy. In combination, they complement each other to create a copacetic middle ground.

The coil splitting proved to be versatile. When playing in the lower register with the neck pickup, and using a bit of gain from a Blackstone Mosfet Overdrive into a 1966 Fender Super Pro, we found the sound a bit fizzy, but splitting the coil cleared it up.

Doing the same with the lead pickup took the tone into funky treble territory. When combined, the two pickups coil-tapped all the way to slinky town. These units don’t sound as crystal clear and powerful as the Gibson Burstbuckers included on Epiphone’s Limited Edition 1959 Les Paul Standard, but they do deliver a fine PAF vibe and sound that’s similar to the Burstbuckers with the volume knobs dialed back a bit.

The most unique feature is the piezo acoustic sound that comes courtesy of the Graph Tech Ghost Tremolo Bridge. The Ghost is engaged or disengaged by pulling or pushing what would have been the second tone knob. Here it acts as a blend control for bringing in or out the desired amount of acoustic sound.

Isolating the signal via the second output jack and feeding it to an Orange Acoustic Pedal through an L.R.Baggs Synapse Personal P.A., we found it delivered a decent acoustic rock tone that sounded believable when “Closer to the Heart” was played.

It possesses the full low end and top articulation that piezos do best. Blend that with the magnetics’ fantastic middle range, and it’s the best of both worlds. And the controls are easier to manage than one might suspect.

The trickiest aspect of mastering the Epiphone Alex Lifeson Axcess is working the vibrato bar while having the piezo pickup engaged. There’s a reason these features aren’t often offered together. Those piezos are located right in the individual bridge saddles, so they pick up every rattle of a shaking vibrato arm.

The bridge piezos convey the rattle much more than the magnetic pickups in the body do, so the workaround is to be judicious with the whammy when the acoustic sound is prominent, and then dial that back when you want to go wild.

The Epiphone Alex Lifeson Axcess delivers a whole lotta bang for the buck, with tons of features packed into the Les Paul platform. We can’t think of another guitar that delivers such a diverse tonal range, easy playability, comfort, impressive looks and quality craftsmanship for under a grand.

Specifications

• NUT: Floyd Rose R4 locking nut, 1 11/16” wide
• NECK: Set mahogany, Axcess contour heel, 24.72” scale, Lifeson profile
• FRETBOARD: Bound Indian laurel, 12” radius, large dot inlays, trapezoid inlays
• FRETS: 22 medium-jumbo
• TUNERS: Epiphone Deluxe with keystone buttons
• BODY: Solid mahogany back with comfortcarve belly scarf plus carved maple top with AAA flame maple veneer
• BRIDGE: Graph Tech Ghost Tremolo
• PICKUPS: Epiphone Ceramic Pro (neck), Epiphone ProBucker 3 (bridge) Graph Tech Ghost Piezo (bridge saddles)
• FACTORY: STRINGS Epiphone .010–.046
• CONTROLS: Three-way switch, neck and bridge volume knobs each with push/pull coil split; piezo volume knob with push/pull on/off; master tone
• WEIGHT: 9 lbs
• BUILT: China

Head over to Epiphone for more info.

The Les Paul is a tonal powerhouse, offering players infinite sustain, a powerful mid-range bark, and a creamy warm tone not found in other guitars. It's no surprise then that so many aspire to own a Gibson Les Paul one day - although the rather sizable price tag can make them unobtainable. Well, luckily for us, Gibson's sister company has seriously upped their game and started to produce some of the best Epiphone Les Pauls ever - giving us all a chance to harness the power of the LP for less. 

It can seem like a daunting task to find the best Epiphone Les Paul for you, considering there are so many variations on offer - not to mention they all look very similar and have a lot of features in common. Well, not to worry, that's what we are here for. 

No matter your personal style and playing technique, you'll be sure to find an Epiphone Les Paul that will suit you. So, whether you're playing away at the blues, bringing the house down with technical shred, or donning a top hat for your best Slash impression, we're pretty sure we can find your next axe among this list. We have put the entries into price order, to make it a little easier to find what you are looking for, and also included some handy buying advice to help you make an informed decision.

Best Epiphone Les Pauls: Our top picks

Best overall

Getting your hands on an original 1960s Les Paul is practically impossible at this point, not to mention incredibly expensive - even a Gibson reissue is massively costly right now. With that being said, it's no surprise the Les Paul Standard 60s tops our list of best Epiphone Les Pauls. Epiphone is offering a delightful slice of history - albeit taking some liberties with spec - at a much more affordable price. 

This stunning guitar certainly punches above its weight and delivers all that LP tone you'd want. Featuring the classic mahogany body and neck with a maple veneer, this guitar looks like the real deal - and feels like it, too, thanks to the slim-taper neck profile. Bringing the rock is a set of ProBucker humbuckers that do a surprisingly great job capturing that mythical PAF tone, the inclusion of CTS potentiometers, is a classy touch from Epiphone. 

It has to be said that the quality of the instrument is streets ahead of where it was, even just a few years ago. There is an attention to detail here that simply makes us smile. Okay, this may not be a Gibson, but for the price, you'd be hard-pressed to find much fault with this truly stunning guitar - so crank up your guitar amp, plug in this epic six-string and let rip!   

Best on a budget

The Les Paul Studio has gone on to develop an identity all of its own. Originally released in '83 as a stripped-down alternative to the flashy Les Paul Standard, the Studio offered the same great tone, without all the bells and whistles. 

This Epiphone version has the exact same mission statement, offering players the thunderous LP tone they're searching for in a no-nonsense, affordable package. Straying slightly from the other models on this list, the Studio is equipped with the Alnico Classic PRO pickup set, which offers a somewhat different flavor from the standard ProBucker found on the other models. The coil-split option also means the Studio lives up to its name as the perfect recording partner.

It's great to see a few new colors available, with the Alpine White giving you the option of channeling your inner Frank Iero or Jade Puget. The other options are Smokehouse Burst, Wine Red, and Ebony. So if you’re looking for a pure Les Paul tone, with none of the flashy extras, then the Studio is the perfect choice for you. 

Best lightweight

It's fair to say the Les Paul is a fairly chunky guitar. With its thick slab of mahogany and carved maple top, it can be uncomfortable - not to mention heavy - for many players. Well, the Muse takes care of this issue with its slimmed-down chambered body. This routing is a lot more extreme than the modern weight relief found in the Les Paul Modern, and the new belly contour offers an extra comfort level. These features not only give the Muse a totally different feel but also changes the sound, giving this elegant guitar a completely unique identity.  

Those looking to invoke the magical tone of the late, great, Peter Green can do so with a pull of the tone control. When both pickups are activated, this engages the out-of-phase setting, giving you that honky quack we all love. 

Epiphone has also supplied an impressive range of finish options, with seven metallic colors to choose from. The marketing department clearly had an excellent time naming these stunning finishes, with Pearl White, Wanderlust Green, Radio Blue, Purple Passion, Jet Black, Scarlet Red, and Smoked Almond. Each option brings its own character, and frankly, it's difficult to choose a favorite among them - although if you made us, then Wanderlust Green may just edge out the rest. 

Best for punk

There is something so elegantly simple about a Les Paul Junior. Conceived initially as a student model and later picked up by countless punk and rock players, the Les Paul Junior is famed for its no-nonsense playability and spikey tone. Unlike the other guitars on this list, the Junior isn't concerned with a fancy carved top, binding, or even two pickups, for that matter. All it cares about is tone - and boy, does it have it in spades! This 1950s classic is certainly one to try if you haven't heard the aggressively mid-focused sound of the P-90. Like the punks that made the Junior their own, this pickup has bags of attitude. 

The Epiphone Les Paul Junior has all the DNA that made the original so beloved. Featuring a sturdy mahogany body, and chunky 50s profile neck - which is not for the faint of heart - and a single dog-ear P-90 pickup. Epiphone has also included the Deluxe Vintage tuners, which completes the retro vibe. 

So if you're looking for a no-nonsense guitar that you can just plug in, turn up and let rip, then this has to be the best option for you. However, if you find yourself craving the second pickup, you're in luck as Epiphone offers the Les Paul Special, as well. 

Best modern Les Paul

For many players, the Les Paul shouldn't be messed with - I mean, they nailed it on the first go, right? Well, no, they didn't. The truth is, Gibson has made many significant changes to the Les Paul over the years in a quest for better playability and to keep up with the demands of the modern guitarist. Gibson's latest ultra-contemporary offering is the aptly named Les Paul Modern, and the Epiphone version here is a direct copy. 

The stylish LP's mahogany body features the Ultra Modern Weight Relief, meaning it's a damn sight lighter than a standard Les Paul, making it the perfect option for a long setlist, an all-nighter jam session, or simply if you have back problems. The pairing of a vivid colored top against the natural mahogany body is rather striking and is quite the sight to behold in person - the Pelham Blue has to be our favorite!

It's not just stunningly good looks this Les Paul has going for it. The Asymmetrical neck provides a lightning-fast playing area, which coupled with the contoured heel, means this is the virtuoso's, Les Paul. If you're on the hunt for a modern take on the standard Les Paul formula, then this designer six-string may be the best Epiphone Les Paul for the job.

Best custom

There has always been something so classy about the Les Paul Custom - especially in ebony. The striking contrast of the dazzling gold hardware against the jet-black body makes many player's hearts beat that little bit faster. The multi-ply Custom white binding helps define the Les Paul shape, while the mother of pearl diamond headstock inlay lets the world know you're holding something special. 

Again Epiphone has done a great job of bringing this icon to life - I'm sure Les himself would have been proud. In addition, the inclusion of a genuine ebony fingerboard is a welcome relief from the usual laurel or rosewood affair found on the earlier incarnations of this guitar - because, let's face it, it needs to be ebony to be a Custom! 

As far as pickups are concerned, it's the usual Epiphone ProBucker humbuckers found on many of these guitars, but this time with gold covers. The Les Paul Custom also features the 60s style Kalamazoo headstock and rolled neck edges for a super satisfying playing experience. So if you're looking for a high-class, sophisticated LP, then this has to be the best Epiphone Les Paul for you. 

Best vintage

You don't need us to tell you how valuable an original '59 burst is - considering every time Joe Bonamassa buys one, someone somewhere writes about it - but even the Gibson reissues are a pretty penny, fetching upwards of $6,000. Luckily for us mere mortals, Epiphone has teamed up with the folks over at the Gibson Custom Shop to produce the Epiphone 1959 Les Paul Standard, giving us the chance of owning a vintage reissue without remortgaging the house. 

This special guitar marks the first collaboration between these two Gibson offshoots, and long may it continue. This will come up a lot in this guide, but the level of detail here is remarkable. The AAA-figured maple top is stunning, and while not exactly as thick as on the Gibson, it still looks the part, resulting in a gorgeous-looking instrument. The stunning look is helped along by the aged finish, which is somewhere between a gloss and matte finish not too dissimilar from a VOS. The '59 neck profile is exactly as comfortable as you'd expect it to be, and the long neck tenon adds another level of vintage detail, which is something we can certainly appreciate.

What kicks this guitar up a gear is the addition of the Gibson USA BurstBucker 2 & 3 pickups. This, coupled with the CTS pots, 50s era wiring, Mallory capacitors, and non-beveled pickguard, add a whole extra level of authenticity to this quality guitar. 

Read our full Epiphone 1959 Les Paul Standard review

Best for metal

It's not all vintage reissues and Gibson copy-cats on this list, we also have something for the more aggressive player. On the surface, the Epiphone Les Paul Prophecy may look like a metalhead's dream - and it is - but it's also a lot more than that. 

At the heart of this demonic-looking LP is a set of Fishman Fluence pickups; these high-tech active pickups offer a range of sonic possibilities that even the most traditional among you will love. With just a pull of the volume or tone control, you'll have access to a warm PAF vintage humbucker, a searingly hot modern active humbucker, as well as shimmering single-coil tones - that's all the major food groups right there! 

This guitar has been optimized for the budding shredder, with the inclusion of an Asymmetrical SlimTaper neck that is super comfortable no matter where you are on the fingerboard. At the same time, the modern contoured heel gives you unparalleled access to the upper frets. This guitar is unapologetically a shredder, with a few classic sounds under the hood for when you want to calm things down a bit - and we love it! 

FAQ

Like their bigger sibling, the Epiphone lineup has gone through a massive shake-up over the last few years. Following in Gibson's footsteps, Epiphone has gone back to basics, producing guitars that have their roots firmly in tried and true formulas - with the odd experimental guitar here and there to keep things interesting.

We must say, this new - or old, depending on your perspective - approach is a welcome change, and one we have been hoping would happen for some time. Epiphone seems to finally be listening to the fans and giving them precisely what they want. Nothing signifies this change in mindset more than the shift to the old Kalamazoo headstock design - something fans have been screaming out for. 

It's not only the lineup that has changed, but the overall quality has also seen a vast improvement. We're seeing fewer reports of fret issues, broken plastics, and dead pickups that, unfortunately, had become commonplace on Epiphones of the past. Believe us when we say Epiphone is currently producing the best electric guitars they have made in over a decade, and it's exciting to see what they will bring out next. 

How we selected the best Epiphone Les Pauls

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

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

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

Read more on how we test gear and services at Guitar Player.

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Epiphone was often seen as the redheaded stepchild after Gibson acquired the company in 1957. However, one Epi electric guitar has always outgunned its parallel model from the sibling brand, both for popularity and for street cred: the Casino.

Ever since its arrival in the early 1960s, the Epiphone Casino has been hipper and more successful than the Gibson ES-330, which features the same design and construction. Three names easily explain that phenomenon: John, Paul and George.

Paul McCartney was the first Beatle to acquire a Casino, a ’62 model he purchased in late 1964. Soon after, Lennon and Harrison bought Casinos of their own. The three Beatles guitarists used these Epiphone thinlines for a significant proportion of their time in the studio.

Given that just about everything the Fab Four touched turned to gold, it’s not surprising that the Casino dominated Gibson’s ES-330, a popular guitar in its own right, but one that never quite attained the Casino’s iconic status.

Aside from their headstocks, small parallelogram block fretboard inlays and a few particulars regarding appointments and other minor construction details, the Casino and ES-330 are very much alike.

Both are fully hollowbody electric guitars (rather than semi-hollows, like the Gibson ES-335), and feature no solid wood within their bodies, other than the thin parallel braces that support the guitar’s top. It’s also notable that the Casino/ES-330 had its neck-to-body joint at the 16th fret, rather than further toward the end of the fingerboard, as on the Gibson ES-335.

This construction, with laminated maple top, back and sides, makes for a lively instrument with much of the bite and attack of a semi-acoustic electric, and some of the warmth and depth of a bigger archtop jazz-box.

This resonant acoustic foundation is complemented by a pair of P-90 single-coil pickups, with their archetypal thick, rich, yet slightly gnarly and biting sound. A good Casino delivers plenty of sonic complexity and can segue seamlessly from sweet pop to throaty jazz (Grant Green used an ES-330 for much of his seminal work) to raw rock and roll.

For what it can do in the latter genre, check out McCartney’s lead-guitar riffs and fills on the Beatles’ “Ticket to Ride,” “Taxman” and “Good Morning, Good Morning.” Lennon and Harrison, for their parts, stripped the finishes off their Casinos in early 1968 after Donovan told them it would improve the guitars’ tone. Although Harrison rarely played his Epiphone by this time, Lennon continued to use his, and it can be distinctly heard in the heavily fuzzed intro to the single “Revolution” and on his lead fills in “Get Back.”

While the thinline Casino isn’t as prone to feedback as a full-depth archtop electric, it will definitely howl if you stand too close to a loud amp. But that can also be part of its charm, and many players have used that hovering, wail-at-will capability as a creative tool in and of itself – something that can help make up for the guitar’s inherent lack of natural sustain, given the absence of a solid center block.

Beatles aside, Casinos have landed in the hands of several other well-respected players from the ’60s to today, and have been bent toward all kinds of music making. Both Keith Richards and Brian Jones of the Rolling Stones played these Epi thinlines for a time, and indie-rocker Matthew Sweet and alt-country artists Steve Earle and Dwight Yoakam have all played reissue Casinos, as has formidable blues-rocker Gary Clark Jr.

Try to name another original Epiphone electric model that has had as much crossover success!

Essential Ingredients

• Fully hollow thinline body with sunburst finish
• Double-cutaway styling, laminated-maple construction
• Glued-in mahogany neck with rosewood fretboard
• Kluson tuners on a narrow Epiphone headstock
• Two single-coil P-90 pickups with chrome covers
• ABR-1 Tune-o-matic bridge

Click here to check out the awesome range of Epiphone Casinos available now at Guitar Center.

In addition to making her debut solo record this year, Nancy Wilson has become the recipient of her debut Epiphone signature electric guitar, the Fanatic. 

Based on the Nighthawk body shape introduced in 1993, the Fanatic features a mahogany body with a figured maple veneer top, ProBucker humbuckers, a five-way pickup selector, and master volume and tone controls. We asked the designer herself to take us through the model’s background.   

The Fanatic is based on the Gibson Nighthawk. How did it come to be your signature model? 

I designed the shape for Gibson when they asked me to come up with a new body style. This was back in the ’80s, but then they changed management shortly after that. I guess they found the old drawings and decided to make the Nighthawk into the Fanatic. I think it sounds really great. It’s got a lot of muscle.   

It’s almost like the pickup selection options are an attempt to get some Strat-type sounds as well as the expected Les Paul humbucker punch.

Yes, there are five really useable and distinctive options available. I like fat rock-guitar sounds, so that was the idea with the switching options, I also wanted it to be affordable. Epiphone have done a fantastic job and the finish is absolutely stunning. It’s just a great rock and roll guitar.

Are you going to be using the new model, or is the Gibson version that you’ve been playing essentially the same?

Yes, I’ll still be using the original model that Gibson built for me in the ’80s, as well as having a couple of Fanatics on standby. They are indeed essentially the same guitar. I’m not sure if the hardware is identical, but it certainly sounds the same as my Gibson.

As a young boy growing up in 1960s suburban New Jersey, Chip Sgro acquired his first guitar in a very 1960s way: by collecting S&H Green Stamps at the checkout counter of his local grocery store and redeeming them for his reward: a plastic, yellow-and-red nylon-string guitar that came complete with a battery-operated amplifier “the size of a Pop-Tarts box,” he says.

By the time Sgro was starting a family, he had amassed roughly four or five guitars – “what most people call a collection,” he says with a laugh. His plunge into the world of vintage instruments, however, came unexpectedly.

“My wife, Kim, knows I’m a big Beatles fan... Years ago she bought The Beatles: Rock Band for our kids for Christmas,” he recalls. “And it came with the plastic McCartney bass [the Höfner 500/1 violin bass] and the Lennon 325 Rick [Rickenbacker 325] replicas. My kids loved that. I would play the guitar parts to these Beatles songs and they would sing along. It was great.”

Shortly after, his wife took things a step further. “She actually bought me a 1965 Höfner violin bass,” Sgro says. “From there, I became interested in trying to acquire what I call ‘key’ guitars, and in particular what I call ‘key Beatle guitars.’ I slowly went about identifying them and finding examples that were in really great condition.”

Sgro was kind enough to share some of the prized Beatles-related electric guitars in his collection and discuss their histories and significance, both in the Beatles’ world and in his...

1963 Gretsch 6119 Chet Atkins Tennessean

The Gretsch Tennessean debuted in 1958 as a single-cutaway, single-pickup offering. By 1962, it had been altered to feature a slimmer body, two single-coil Hilo’Tron pickups and painted-on f-holes. George Harrison used his ’63 model both live and in the studio, and it can also be seen in the movie Help!

“When I first started pursuing Beatles guitars, my focus was on George’s instruments,” Sgro says. “And if you look at his guitars, the first three that people were aware of were the ‘57 Duo Jet, the ‘62 Country Gentleman and the ‘63 Tennessean. I got the Tennessean first, because it is a more accessible guitar.

“There were a lot of them made. I actually found this one in the vintage section of a Guitar Center in California.” Sgro’s Tennessean “is an interesting guitar, because it has two serial numbers. There’s the official serial number on the top of the headstock, which dates it to 1963, but then on the back, in what looks like white marker, there’s another number. I never figured out the significance of that number. But the guitar itself is in really good shape.”

1957 Gretsch 6128 Duo Jet

Harrison once called his ’57 Duo Jet his “first good guitar,” and he played it on early Beatles singles, during the Please Please Me sessions and at gigs of the period. “I had been looking for a ’57 Duo Jet for a while, and I found this one at Willie’s American Guitars in St. Paul, Minnesota,” Sgro says. “This example is a ‘transition’ model, likely produced near the end of 1957.

"Somebody might say, ‘Well, this isn’t the same year as Harrison’s,’ because the neck has the Neo-Classic thumbnail fret markers that were on the ’58 as opposed to the hump block inlays on Harrison’s ’57. But it has the ’57 DeArmond Dynasonic pickups and the ’57 body. Another difference from George’s guitar is that his had a Bigsby, while mine has the original G marked tailpiece.

"So there are some distinctions from the standpoint of vintage guitar collecting, but in the end that made it a little bit more accessible, too. And it’s just a great guitar. Plug it into a Vox AC15 or 30 and you can immediately hear the Beatles’ tunes on Please Please Me come to life.”

Circa 1955 Gibson J-160E

Lennon and Harrison received nearly identical J-160 acoustic-electrics on September 10, 1962, and used the guitars in the studio for Please Please Me and With the Beatles. Lennon’s was stolen in 1963 (though, as it turns out, he and Harrison had unknowingly switched J-160s) and was later replaced. The original eventually turned up in 2014 and sold at auction for more than two million dollars.

“Because of the connection to the Beatles, the guitar is hard to find, especially one in good condition,” Sgro says. “And they’re expensive, quite frankly. Mine is an older model than the ones John and George had. It’s from ’55 or ’56, and theirs were from ’62. But I was really happy to get this.

“To my knowledge, the J-160E is the only guitar that was played on every Beatles album, from Please Please Me right to Abbey Road. And this example has a killer finish on it, with all the right nicks in all the right spots. Sometimes you just look at a guitar and you say, ‘Oh, my God, I have to get that. I don’t care what it sounds like.’ This one I wanted because it sounded good, but it also looks so good that I think I would’ve gotten it anyway!”

1967 Epiphone Casino E230TD

McCartney, Lennon and Harrison all played Epiphone Casinos in the mid ’60s, and used them extensively in the studio as well as on the final Beatles tour in 1966. Harrison and Lennon later sanded the sunburst finishes off their instruments, with John’s now “natural finish” Casino on prominent display during the band’s famous 1969 Apple rooftop performance. McCartney continues to play his Casino to this day.

“The Epiphone Casino is a highly coveted guitar by Beatles fans because all three guitar-playing Beatles had one,” Sgro says. “I have a 2002 Casino, but I was on a quest to find a true ’60s model. This one is a ’67, and it’s in essence the same as their Casinos, other than the fact that mine has black control knobs, whereas John and George’s had gold. But the guitar sounds killer and it’s in great shape.

“This one came to me through Danny Courtenay, who owns Chelsea Guitars in New York City and helps me find a lot of my instruments. The guitar has an unfortunate backstory. A friend of Danny’s who was also a collector passed away, and Danny was helping his wife sell some of his guitars. He was going to hold onto the Casino for himself, but he decided to sell it to my wife, Kim, who then gave it to me for my birthday. He felt like he was keeping it in the family. It was an extremely difficult situation for everybody, but it makes me appreciate and cherish the guitar that much more.”

2016 Fender Stratocaster “Rocky”

In 1965, Harrison and Lennon acquired matching 1961 Fender Stratocasters with Sonic Blue finishes. Harrison used his Strat extensively that year on Rubber Soul, including on “Nowhere Man.” In ’67, just before the Beatles’ performance of “All You Need is Love” for the Our World global satellite broadcast, he painted it with fluorescent Day-Glo paint and named it Rocky. The guitar can also be seen in the “I Am the Walrus” scene in the Magical Mystery Tour television special.

“This is a 2000s guitar,” Sgro says of his copy. “I actually don’t have a whole lot of background on it, other than one of Danny’s dealer friends called him one day and said, ‘Hey, do you know somebody who would want this?’ Apparently, an artist had painted it for a client, but the client never came to pick it up.

“When Danny saw it, he knew immediately to call my wife, who bought it for me for Christmas one year. The paint job is almost dead-on, and it sounds really good. But it’s not one I play a whole lot, because I don’t want to chip off the finish.” Sgro laughs. “Which is the whole point of the guitar – to play it!”

1963 Gretsch 6122 Chet Atkins Country Gentleman

Harrison had two Country Gentlemans, one of which was destroyed when it fell off the group’s vehicle as they were traveling up England’s M1 motorway on December 2, 1965. The Country Gent became an instant classic when he used a 1963 model for the Beatles’ historic performance on The Ed Sullivan Show in February 1964.

“This guitar is one of my most recent acquisitions, and it was a hard one to find,” Sgro says. “First of all, these Gretsches are expensive because they’re so closely associated with George. Secondly, Gretsch bindings from that time period are notorious for crumbling and falling off. You could find a ’62 Country Gent, but it might have replaced binding or no binding. This one has the original binding, with no cracks, and the guitar itself is in near-mint condition.

“It also came with the original bill of sale – purchased on November 30, 1962, from Leonard’s in Fort Worth, Texas for $575 – as well as the original ‘Gretsch Quality Control Department OK Card’ checklist. It’s just an amazing instrument. And it’s particularly special just because of the rarity and the condition that it’s in.”

Brock & Sgro

Years ago, Chip Sgro formed a cover band with other New Jersey musicians and began playing out at local bars, performing hits from the likes of the Beatles, Tom Petty, the Rolling Stones and the Foo Fighters – “typical cover-band stuff,” he says. But when the group went on hiatus (“people have jobs and families and other responsibilities”), Sgro and bandmate Alan Brock, who he describes as “a killer lead guitarist,” decided to try their hand at writing some original songs.

They began sending musical ideas back and forth to one another over their phones, and, Sgro says, “it kind of snowballed from there.” The result was Brock & Sgro’s debut album, No Reason to Complain, a 12-track collection the duo pieced together at Brock’s home studio, singing and playing all the instruments themselves.

And because Sgro believes in using the prized guitars in his collection, they recorded with a variety of them, primarily his 1942-’43 Gibson J-45 but also a Rickenbacker 330/12 12-string, a 2016 Les Paul Custom “Lucy” copy and a 2002 Epiphone Casino.

Click here to listen to Brock & Sgro's new release mastered at Abbey Road Studios – Peace In A World Of War – and available on all digital music outlets.

These days, when it comes to high-quality budget instruments we've never had it so good. Most major manufacturers now offer wallet-friendly brands that guitarists would be foolish to ignore. Epiphone Les Pauls, for example, are now made "for every stage," while Fender's Squier line is a jamboree of very respectable guitars, many of them at effects pedal prices.

But generating an income from your music can still be tough. Performing is not like a nine-to-five job; there can be good times and lean times and balancing money as a musician can be quite a challenge. 

Steve Vai lives by a couple of simple rules that can help musicians with their economics, as they did him. Here, the man himself shares some humble words of inspiration…

1. Shed Your Anxiety

“There are two things I discovered that were extremely helpful for me back in the day. One was that financial anxiety is the devil. It’s unworthy of you, and unnecessary, and most people in the world suffer from it.”

2. Live Under Your Means

“The other thing I discovered was that the way to alleviate that fear of financial anxiety is to live under your means. When I was making $200 per week, I figured out a way to live on $180 a week. You can do that.

“I then took 10 percent of everything that I ever made and put it aside, regardless of whether I needed that money or not. It was untouchable. My goal was to one day be able to retire with it and have it make money for me, so that I don’t have to touch the principal and I can just live off the interest. I’m there now, easily, and it’s a really great sense of freedom.

“It can be a challenge to live under your means when you’re not making much, but if you’re making a million dollars and you’re living on 10 thousand more than that, you’re in trouble. I never needed fancy cars and things. I always felt a great sense of empowerment in being able to live under my means. Otherwise you’ve got a monkey on your back.”

If only they knew then what we know now. Well, it certainly seems as if a teenage Alex Lifeson did as he debates his future career in music with his parents. It’s a conversation many a guitar player (and parents of guitar players!) will be familiar with...

“I don’t see why I have to go through all the bullshit of high school to learn music,” he argues, bristling with frustration. “I’m just gonna hang around and feel it for a while. And then I’ll learn it… Right now, I feel a little angry… I notice a lot of parents have this great difficulty in listening to their kids.”

“I have said to you, Alex,” counters his father, “and I remember exactly: “I want you to be free, to expand.” I don’t want you to grow up with a fear, or some terror, of anything. What do you want? That’s what I want to know, really.”

Determined to succeed, Lifeson ultimately fulfilled his destiny. Having co-founded Rush in 1968, the guitarist persevered on the local gig circuit while the band put out their eponymous debut album on their own label, Moon Records, in 1974. Before long, Rush had signed to Mercury Records and their journey as Canada’s premier prog rock group really began to take off.

Decades later and Rush's album sales stand in the tens of millions. They were inducted into the Rock and Roll Hall of Fame in 2013.

These days, with a new band project and signature model to his name – the fantastic Epiphone Alex Lifeson Les Paul Axcess Standard – Lifeson’s career in music shows no sign of slowing down. Few have the opportunity to look back on their formative years in as much detail, but this clip from Canadian film maker Allan King’s 1973 documentary Come on Children provides a rare glimpse into the past – and future – of one of music’s most influential electric guitar players.

Buy Rush here.

Gibson and the B.B. King Music Company have announced the reaffirmation of their partnership by way of the B.B. King Legacy Initiative, which aims to preserve the name of the legendary blues guitar player and introduce his repertoire to a new generation.

The news was announced on September 16 – marking King's 96th birthday – and was accompanied by an official release date for the previously announced Epiphone Lucill signature guitar, which is now set to arrive October 19.

Specifications for Epiphone’s latest Lucille iteration are mostly unknown, though a handful of features can be discerned by Emily Wolfe’s recent livestream, which saw the contemporary blues-rocker play the upcoming guitar.

Those features include a Kalamazoo-style headstock, Varitone switch and a TP6 bridge with fine tuners.

The Epiphone Lucille is the first of many commemorative offerings that Gibson and the B.B. King Legacy Initiative will release. Other upcoming projects include a biopic titled B.B. King – King of the Blues, a 24-hour blues channel dedicated to King and a new documentary series.

Further, a new educational initiative, expanded B.B. King merchandising and a 2022 B.B. King Experience tour will also feature on the Legacy Initiative’s agenda.

Of Gibson and the B.B. King Music Company’s revitalized partnership, the latter’s Chairman Vassal Benford commented, “It has been a pleasure working with the Gibson team in developing a new line of B.B. King Signature Lucille guitars.

“I am especially proud of the forthcoming new Epiphone guitar and delivering a true work of art that will be broadly accessible, awakening B.B. King’s life and legacy to new artists.

“Gibson is a tremendous partner and they have demonstrated a sincere alignment with our mission to not only preserve the legacy of B.B. King, but to expose new artists to his music.”

Elizabeth Heidt, VP of Cultural Influence-Global, Gibson Brands, commented, “B.B. King is a cornerstone of Gibson’s music history, and we are honored to bring his legendary music and persona to a new audience.

“From high-end Gibson Custom Shop guitars to more accessible Epiphone models we will be offering beautiful guitars for every fan to help carry on his vast music legacy.”

On this day in 1977, rock icon Marc Bolan sadly passed away after the car he was travelling in collided with a tree in Barnes, southwest London. He was 29 years old. Following his untimely death, Bolan’s musical legacy continued to thrive, as countless punk, indie and new wave artists drew on his unique style for inspiration.

In this incredible concert film from 1972 (shot by Apple Films with the assistance of Ringo Starr and recorded onboard The Rolling Stones’ Mobile Studio by Tony Visconti), Bolan plays to a 10,000-strong crowd at London’s Empire Pool while fronting his band T. Rex. 

At this time, the glam rock pioneers were riding high with three U.K. number one singles to their name (Hot Love, Get It On, and Telegram Sam) while their Electric Warrior album had peaked at the top spot in the U.K. album charts for no less than eight weeks.

Bolan was a guitar fanatic who enjoyed playing a variety of instruments including an Olympic White Fender Strat and an Epiphone acoustic guitar (as seen in this concert footage), along with a Flying V, SG and custom-made Zemaitis guitar. But it was his late '50s Gibson Les Paul that arguably drew the most attention.

In this film, Bolan’s famous Les Paul can be seen sporting its original neck (which was later broken and replaced by a Les Paul Custom neck). The guitar was previously stripped and refinished by Bolan, while the exposed pickups reveal a black and ‘zebra’ bobbin set of humbuckers. 

A replica of this guitar – the Marc Bolan Les Paul – was introduced by the Gibson Custom Shop in a limited run of 100 aged instruments in 2011, complete with the later Les Paul Custom-style neck and orange-y “Bolan Chablis” finish.

Buy Electric Warrior here.

I’ve always found that almost every guitarist has a shared connection with the blues. It’s one of the most inspiring genres in its own right, but it’s also where so many of us first cut our teeth on pentatonic licks. There’s nothing particular about the blues that requires a specific guitar. In fact, many legendary blues guitar players could shred an emotional response from even the cheapest guitar-shaped object. That said, certain aspects of the best blues guitars make them perfect for the genre, whether that's warm-sounding pickups, excellent sustain, or rich harmonic overtones.

Thanks to legends like BB King, Albert King, and Rory Gallagher, the blues is now inseparable from the electric guitar. And after nearly a decade working in a busy guitar shop, I’ve seen first-hand what players gravitate towards when they’re chasing that unmistakable bluesy feel. That’s the experience I’ll be drawing on as I pick out the best guitars for playing blues today.

Maybe you’re after a certified classic like the Gibson ES-335, a guitar that’s graced the hands of countless legends and remains a hall-of-fame choice. Or perhaps you want something with a more modern edge, like the Yamaha Revstar Element RSE20, which puts a fresh spin on the classic two-humbucker formula and is superb value for money. Either way, there’s no shortage of options out there for this evergreen genre.

If you’re new to the blues, make sure you go check out our FAQ section before you pull the trigger. I’ve also curated a how to choose section for those totally new to buying a guitar, and a glossary of key terms that will get you up to speed on blues guitar lingo. For the blues veterans out there, keep scrolling to see our top picks…

My top picks

Best overall

Overview: The list of players who have wielded an ES-335 to devastating effect is as long as your arm, and it’s easy to see why. Its rich, complex, bell-like tone has a way of pulling you in and inspiring you to play away the blues.

Build Quality: There have been countless versions of the 335 over the years, but the current iteration offered by Gibson stays true to the 1960s era of this gorgeous semi-hollow. The laminated maple and poplar body, maple center block, and mahogany neck are all classic touches that convinced blues heroes of its quality — and the latest model carries that same tradition forward.

Playability: With a beautifully playable, hand-rolled, rounded C-profile neck, the ES-335 practically dares you to keep jamming over backing tracks for hours. The double-cutaway offers superb upper fret access, while the glassy nitro finish, available in options from classic Sixties Cherry to the striking Dark Purple Burst, adds plenty of visual appeal for players of different tastes.

Sounds: The sweet, calibrated T-Type humbuckers and hand-wired control assembly deliver an unmistakable tone that sits right at the heart of Nashville. Anyone chasing an instantly recognizable blues voice will feel right at home here. The Gibson ES-335 and the blues are so intertwined that it is hard to separate the two. If you are looking for one of the finest blues guitars available today, this timeless instrument is hard to beat.

Best budget

Overview: It shouldn’t come as a surprise to see a Yamaha guitar on a list of the best blues guitars, with legends like Carlos Santana having favored the old-school Yamaha SG back in the day. While the SG is still available, we’ve decided to include its younger, and equally cool, sibling, the Yamaha Revstar RSE20.

Build Quality: The RSE20 carries Yamaha’s impressive craftsmanship and attention to detail. Its chambered mahogany body makes it lightweight and comfortable to wield, while build quality is rock solid thanks to the usual excellent construction from Yamaha.

Usability/Playability: Although up-and-coming blues ace Chris Buck makes playing look effortless, Yamaha guitars like the RSE20 certainly encourage slick performance. The neck feels smooth and fast, while the 12-inch radius provides a flat enough surface for soulful bending with the jumbo frets. It’s the kind of guitar that begs you to dig into modern blues licks and once you do, you’ll see why.

Sounds: The humbucker pickups are really powerful, perfect for searing lead guitar tones. They respond beautifully to overdrive, and sound really nice when played clean too. Combined with the chambered mahogany body and a set neck you get plenty of sustain for those epic bends.

Best Strat

Overview: It seems like the humble Fender Stratocaster has always been the weapon of choice for the trailblazer. The incredibly versatile nature of the Strat has meant that guitar innovators such as Hendrix, Clapton, or SRV were able to bend the Fender classic to their will, resulting in some of the most remarkable guitar tones of all time.

Build Quality: We could've picked several Stratocasters for this guide, but we succumbed to the vintage charms of the American Vintage II 1957 Strat. This retro-inspired axe features a plethora of period-correct specifications, such as an Alder or Ash body with a Nitro lacquer finish and a chunky 1957 ‘V’ neck with a vintage 7.25" radius fingerboard.

Playability: Vintage tall frets ensure those big blues bends are a breeze, offering a phenomenal playing feel for soul-searching lead guitar work. For those after the vintage sound and feel of a golden-age Fender, the American Vintage II series is most definitely for you.

Sounds: The three Pure Vintage '57 single-coils deliver a smooth top end, dynamic lows, and a rounded midrange. They are ideal for a wide palette of blues tones, from bend-heavy, soul-drenched leads to spanky riffs full of swagger.

Best Les Paul

Overview: There are a handful of guitars out there that have taken on a whole legend of their own and become, in some ways, more famous than the players who wielded them. Peter Green's "Greeny" has to be one of those guitars. This mythological '59 Les Paul is responsible for some of the most replicated guitar sounds of all time - and the reason modern LPs have an out-of-phase setting!

Build Quality: Gibson has used state-of-the-art technology to capture every little detail - from laser-scanning the necks to get the exact profile to recreating the plastics down to a molecular level. Even the finishes on offer are color-matched shades of sunburst to best represent the original models that are so sought after.

Playability: This guitar’s neck is near perfect. Instead of feeling like an uncomfortable baseball bat, the ’50s rounded medium C profile has just the right amount of chunk for a solid grip without making it difficult to reach across all six strings. There’s no weight relief here, but Gibson has opted for lightweight mahogany to take a bit of heft out of the equation. That said, if you’ve got a bad back, this still isn’t what you’d call a featherweight.

Sounds: If you are chasing the tone of the blues rock greats, such as Peter Green, Gary Moore, and Billy Gibbons, then you're going to need your very own '59 Les Paul. The Custombuckers are the closest thing possible to a vintage PAF and after years of research, Gibson has made that famous tone a little bit closer to some people’s reality. For us, Gibson is making the best recreations of these priceless guitars they have ever done - and although they may be expensive, they are a damn sight cheaper than an original.

Best Tele

Overview: One glance at the Red Dog Telecaster and you can tell this isn’t your average Tele. Inspired by Mike Campbell’s heavily modified 1972 original that powered Tom Petty & The Heartbreakers’ Refugee, this model from Fender’s Stories Collection captures that same road-worn, high-octane spirit.

Build Quality: The alder body is finished in a striking Red Dog Red, Fender’s custom cousin of Candy Apple Red, complete with light finish checking courtesy of the Heirloom nitrocellulose process. The details are spot on, from the ’70s “F” tuners and black logo to the maple neck and matching fingerboard.

The Bigsby bridge and “Destruct” boost circuit give this guitar a unique edge, both visually and sonically. One fun replication is the cable tie holding down the Bigsby, a trick that Campbell’s guitar tech used so he wouldn’t lose the spring when restringing backstage.

Usability/Playability: The medium “C” neck profile is fast and familiar, with a 7.25-inch radius and narrow vintage frets that offer an authentic feel without fighting you. It plays with that old-school Fender charm, smooth under the fingers but responsive enough for expressive bends and slides. While it’s slightly weightier than a standard Tele, the balance is solid, and the Bigsby adds a touch of classy vibrato for extra flavor.

Sounds: Boy, does the Red Dog have plenty of bark. The two full-size humbuckers and single-coil bridge pickup deliver a wide sonic spectrum, from warm, creamy rhythm tones to biting, overdriven leads. Hit the push-button “Destruct” boost and you’ll unleash a punchy gain lift that’s perfect for solos or fattening up your tone. It’s a Tele with muscle, tailor-made for players who like their blues with a touch of grit.

Best with P-90s

Overview: Well, after 50 years of being made in various factories - and countries - the Casino has finally come home to the USA, and we couldn't be more excited about it. So many great players have opted for the deep, hearty tone of the Casino, such as the unstoppable Keith Richards, the late great John Lennon, and modern blues master Gary Clark Jr, to name a few.

Build Quality: Although this guitar may look similar to its ES-335 brethren above, it's a somewhat different animal. The Casino forgoes the maple center block in favor of fully hollow construction, resulting in a slightly warmer, woodier tone. Other nice touches include an Indian rosewood fingerboard and a stylish thinline trapeze tailpiece, adding a touch of class.

Playability: Also, the fully hollow construction makes the Casino lighter than the ES-335, making it very comfortable to play standing up. The familiar rounded ‘C’ neck is a perfect launch pad for smooth blues licks and the double-cutaway allows access all the way up the fretboard.

Sounds: The P-90 pickup means this Epiphone has its own sonic identity, perfect for not only the blues but also as a jazz guitar and even rock - just be careful with your volume, as they do like to squeal. Okay, this might not be a real vintage Casino, but frankly, it's as close as you will get, and with the constant rise in vintage guitar prices, it's the most cost-effective purchase you can make - if you want an American-made Epiphone.

How to choose

If you’re considering your first blues guitar purchase, there are a few things to think about. I’ve crafted this section, calling on my experience selling guitars in the instrument industry, as a step-by-step guide you can use when looking for the best blues guitar. I’ve helped hundreds of players find the right guitar for their style, and I’m confident this process will work for you too.

1. Solid, semi-hollow, or fully hollow

First things first, what body style do you want to go for? A solid-body electric guitar may be the most practical choice, as they are more compact, have plenty of sustain, and feedback won’t be as much of an issue.

On the other hand, you can opt for a semi-hollow, like the ES-335. With a more breathy, warm, and resonant tone, semi-hollow guitars have been a go-to choice for blues legends like B.B. King and modern players such as Christone "Kingfish" Ingram.

Lastly, a fully hollow guitar, like the Epiphone Casino, offers a beautiful woody tone, lightweight construction, and a unique sonic identity. Like semi-hollows, fully hollow guitars can suffer from feedback, which becomes more noticeable when using high gain.

2. Pickups

Next up, think about pickups. The three main types — single-coils, P-90s, and humbuckers — all have their pros and cons for blues. Humbuckers are arguably the most popular, with their warmth, roundedness, and body making them a great choice for soulful playing.

On the other hand, P-90s, which offer more midrange bite and clarity, are perfect for certain blues styles. Lastly, single-coils are bright, articulate, and spanky. Players like Rory Gallagher used single-coils in all their bluesy glory. Ultimately, this comes down to taste — there’s no right or wrong choice.

3. Neck profile

Finally, it’s worth thinking about the neck profile. This will ultimately determine how comfortable you feel holding your guitar. Some players prefer a chunkier neck that fills the palm for gripping cowboy chords, like a U-shape, while others prefer a slimmer, more modern neck if they want to play fast, fluid licks, like a soft-C profile.

FAQs

Key terms

• Action: This refers to the height of the string from the distance of the fret. High action can be harder to play, whilst too low action can cause fret buzz.
• Bridge: The metallic part of your guitar that anchors the string ends to the body.
• Coil split: A type of electrical switch that turns off one of the two coils in a humbucker to produce single-coil tones.
• Fret buzz: This is when you hear a string buzz against the fret because there isn’t enough height for it to oscillate properly.
• Humbucker: A type of electric guitar pickup featuring two wired coils to cancel out any hum typically found in a single-coil pickup.
• Intonation: Correct intonation is when the open string and the fretted note are in tune with each other. This is achieved by correctly adjusting the bridge saddles.
• Neck profile: This is the cross-section of a guitar’s neck, typically described as a letter, i.e., ‘C’, ‘U’ or ‘D’.
• P-90: A type of single-coil pickup whose bobbin is shorter and wider than a standard single-coil, resulting in a unique tone with a strong mid-range punch.
• Pickup: The part of an electric guitar made up of magnets and coiled wire that detects vibrations made by guitar strings and converts them into an electrical signal to be amplified.
• Radius: This is the measurement of the curvature of your guitar’s fingerboard.
• Semi-hollow: A type of guitar whose body has hollow ‘wings’ attached to a solid center-block.
• Single-coil: This is a type of guitar pickup featuring a single coil wire that is wrapped around a magnet.
• Slide: A tube typically made of metal, glass, or ceramic that is used to create smooth glissando tones and is featured heavily in blues genres.
• Sustain: This is the length of time a note played on a guitar will ring out before fading away.
• Tonewood: A type of wood selected for particular tonal properties. For example, maple is considered a bright-sounding tonewood, whilst mahogany sounds much warmer.
• Vibrato: A technique or effect that creates a wavy sound by fluctuating the pitch of a fretted note.

How we test

At Guitar Player, we are a team of passionate guitarists who have immersed ourselves in the world of blues music. With our deep appreciation for the blues, we have thoroughly tested and played numerous guitars to identify the best instruments for capturing that most soulful of sounds.

To compile our list of top blues guitars, we combine our hands-on experience, extensive research, and in-depth discussions with our editorial team. We take into account factors such as playability, tone, craftsmanship, and historical significance to ensure we showcase the finest blues guitars available.

As avid blues players ourselves, we understand the significance of finding the perfect instrument to convey the emotional depth and expression of this genre. Our mission is to provide reliable and informed recommendations to help fellow guitarists discover the ideal blues guitar that resonates with their individual style and musical preferences.

Whether you're wailing on a Delta blues riff or bending strings with Texas-style licks, our goal is to empower you to unlock your blues potential with the best guitars for the job.

Read more on how we test gear and service at Guitar Player.

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“Captain” Kirk Douglas is best known for his blazing fretboard work in “hip hop organic jazz” collective The Roots. As house band for The Tonight Show Starring Jimmy Fallon, The Roots’ stylistic dexterity and dynamic flair demands Kirk pull out all the stops when it comes to tonal versatility. We recently caught up with the man himself to talk inspiration, music gear, and his diverse role as a guitarist.

Although you now have two Gibson signature SGs to your name, you’re also known for playing a vintage Epiphone Crestwood Custom…

I purchased my ’61 Epiphone Crestwood from a store called 30th Street Guitars in Manhattan. Ironically, it’s on 27th Street but it originated on 30th Street. I went in there one day and saw it. I’m a big fan of The Black Crowes and they turned me on to the beauty of natural electric guitar tones and overdrive. Their guitar player at the time – Marc Ford – was playing an Epiphone Crestwood with them. There’s a video for the song "Blackberry" where he's playing one, and I just thought it was the coolest guitar. It’s like the perfect morph of a Gibson and a Stratocaster.

What was cool about it was that somebody had replaced the original vibrato with a regular Les Paul-style [Tune-o-matic] bridge [and stop tailpiece], and the original pickups with Firebird mini humbuckers. It had a great sound, and you didn’t have to be too precious about it. That guitar was with me and served me very well. And then it also took on a life of its own when it found its way into the hands of Prince.

Prince famously trashed your Epiphone Crestwood Custom on The Tonight Show Starring Jimmy Fallon; what happened to the guitar after that?

When Prince broke my Epiphone, a lot of the fretboard came apart from the neck itself and I had to get that glued back on. But you wouldn’t notice the difference when it was repaired. It sounded every bit as wonderful and every bit as vibey (if not more so than before).

Cara Delevingne once played “Sweet Home Alabama” behind her head using a similar-looking Epiphone on The Tonight Show Starring Jimmy Fallon…

I believe she borrowed that guitar. After the Prince thing, Epiphone sent me a red version of the Epiphone Crestwood because they were doing reissues of it, and I had it painted in white.

We understand you’re a big fan of 100-watt Marshalls, but what amp do you tend to use on stage with The Roots?

On stage with The Roots, I usually use a Mesa Boogie Stiletto. That was Mesa Boogie’s take on a Marshall. It was Boogie’s EL34 amp, but they discontinued it, I think because it just fell out of fashion. But it’s such a good sounding amp. I’ve done a lot of recordings with it. I really love asking my guitar aficionado friends what kind of amplifier they think it is, and they always assume it’s a vintage Marshall, but then I’m like, “No, it’s actually my Mesa Boogie Stiletto combo that I’m playing at bedroom ‘I don’t want to get evicted from my apartment’-level.” 

I get such a good sound out of it. My latest [Gibson] signature SG sounds really great through that amp. I definitely noticed the difference between the BurstBuckers in that and the ’57 Classic [humbucker] pickups. [Douglas’ 2013 signature Gibson SG is fitted with ’57 Classics.]

Why is guitar gear important to you when it comes to making music?

When it comes to all this stuff, you want to be excited about the guitar and the music you’re making. These guitars are not there for just making comparisons. Of course, it’s fun to make comparisons like, ‘let’s see what this amp sounds like compared to this amp,’ or, ‘this pickup compared to this pickup.’ That’s a fun way to spend time and you kind of do discover things you like. But it’s not necessarily making music. When you’re hungry and you have an apple and an orange, you’ll take either. And you won’t complain, like ‘that sucks because it’s not an orange.’

When you have a fun idea – a riff in your head – and you want to record it, you gravitate towards a guitar that sounds good to your ears, looks good to your eyes, and makes you feel inspired. That’s the fun things about guitars – they come in so many different shapes and colors and there are so many different ways to complement your personality and your music visually as well as sonically. That’s another reason why I’m so attracted to the SG – because of the shape of it, and the associations we have with it like Sister Rosetta Tharpe, AC/DC, and Hendrix. It’s evocative of all those things those players have made you feel.

The Inverness Green vintage custom color finish on your signature SG was an interesting choice...

It’s interesting when you get an opportunity to see an SG in a color you’ve never seen before. It’s like anything else rare, like an albino cat or something. What I love about the other finish (Ebony) is that it stands out in a subtle way. The things that stand out about that guitar are the gold hardware (which, on black, looks very elegant) and I love how you can see the detail in the way the pickguard is cut. It almost looks like a bat wing or something.

I wanted to offer my signature Gibson SG in two colors – one that was striking and unusual for an SG, and another color that spoke to the person who just likes black guitars. With certain outfits it looks great. A lot of the time on The Tonight Show I’ll have to wear a tuxedo. There’s an understated-ness about it but a statement is still being made.

Your latest Gibson signature model SG has a master volume uniquely mounted on the pickguard. Do you tend to ride the volume knob during performances, rather than just flipping between pickups and pedals?

There’s a lot of territory to be explored with that, depending on how you’re running your amp. If you’re using an amp that’s hot and/or loud, you can often get your tone to clean up by way of using your guitar controls. And those tones can have great character. But it’s also a case of, ‘do you have time for that?’ These details might get completely lost if you’re playing in a big band. But if you’re in a band that’s more guitar-based, there’s more space to explore complex tones. Especially with a guitar like [the Gibson Kirk Douglas Signature SG].

How much do you rely on effects pedals?

I rely more on pedals with The Roots. A lot of it is about entertaining – you’re playing to people who have a relationship with the album and the guitar is a small piece of what’s going on in the grand scheme of things. So, it’s more pedal-based with The Roots because it’s about the more obvious and pronounced effects. And also, because I’m running around more on stage, I don’t have time to get into those particulars. The only person that would notice those complexities would be me and me alone. It’s a hip hop group essentially. It’s about the rhythm and drums – it’s rhythm and rhyme – and everything else is supportive of that.

For more information on the Kirk Douglas Signature SG visit Gibson's website.

So, you've spent the last few weeks trawling through countless pictures of gorgeous flame-topped pin-ups, lusting after their elegant curves, and striking beauty - and as a result, you've decided to buy a Les Paul. In that case, you've probably asked yourself the age-old question; Epiphone Les Paul vs Gibson Les Paul, what's the difference? 

While on the surface, these guitars may look similar - and in some cases identical - they are very different beasts. Most people think it's simply a matter of budget, but really, it's more than that. Both brands offer a unique set of characteristics, specifications, and even differences in how they are made. Now, we aren't here to crown a winner of which is better. Frankly, that's not a question anyone can answer. It ultimately boils down to which is the best option for you and suits your needs the best. 

So without further ado, let's break down the main differences between a Gibson Les Paul and Epiphone Les Paul and see if we can help you decide which way to go. If you've already decided to go down the Epiphone route, you can check out our guide to the best Epiphone Les Pauls.

Epiphone Les Paul vs Gibson Les Paul: History

The history of both Gibson and Epiphone is a very long and troubled one for both parties. We simply don't have time to go through the countless changes in ownership, numerous bankruptcies, and extensive lawsuits here - a lot happens when your company is over 100 years old! So let's just focus on the milestones. 

Gibson originally started way back in 1902 in Kalamazoo, Michigan. Although they didn't begin with guitars, but rather a very different kind of stringed instrument - the mandolin. By the 1930s, Gibson had established themselves as a towering force in the six-string world, creating one of the first commercially available electric hollow-body guitars, a leader in the world of flat-top acoustic guitars, and a pioneer of jazz archtops. By the time the 1950s arrived, though, Gibson was no longer the top dog. Instead, that title would go to their much younger Californian rivals - Fender. 

In an attempt to catch up to the runaway success of the Telecaster - then known as the broadcaster - Gibson released the Les Paul Model, their first venture into solid-bodied electric guitars. Unlike Fender, Gibson didn't find overnight success with this new guitar and would therefore tweak the formula until they eventually would land on the LP we all know - and love - today. 

1958 would see the Les Paul feature some very recognizable specifications, such as a dual set of PAF humbuckers, a Tune-o-Matic bridge, stunning flame top, and striking sunburst finish. This is what comes to mind when most of us think of the Gibson Les Paul, and Gibson has been tirelessly trying to recreate the magic of this guitar ever since, with countless reissues and custom shop models. 

Epiphone has a very similar origin story, although surprisingly, they are an older company, having started in 1873. Like Gibson, Epiphone started making mandolins and other stringed instruments before moving into banjos and guitars in 1924 and 1928, respectively. By all accounts, Epiphone was a successful company producing some of the finest acoustic and archtop guitars, but what caught the attention of then Gibson President Ted McCarty was the Epiphone upright basses. Gibson would make an offer to Epiphone to feature the basses in their catalogue but would later instead purchase the entire company. 

The two companies would coincide for many years, with both brands built out of the same facility. This lasted until 1970 when Epiphone was moved to Japan to keep the production costs down and better help them compete with the rise in foreign-made replicas. 

By 1990 Epiphone and Gibson were in very different places. Epiphone would break from tradition and start building the only official licensed Gibson copies available, only four years into yet another change in ownership. Creating Les Pauls, SGs and ES-335s. 

This is pretty much where Epiphone are today - albeit with yet another change in leadership, and location, to China. 

Epiphone Les Paul vs Gibson Les Paul: Spec Differences

As you can see from the history, in the beginning, Epiphone and Gibson were built in the same place, by the same people, using the same materials. Now, of course, this isn't the case anymore. So how do they differ? 

Well, first of all, Gibson guitars are made in the USA, and although they do use CNC machines for some sections, such as cutting out the body and routing the pickup cavities, for the most part, they are handmade in a fairly traditional manner. For example, they still apply the binding around the body in the same way they did in the 50s. This involves mummifying the guitar in ropes to tightly hold the binding in place while the glue sets. 

Epiphone, on the other hand, are more mass-produced, relying on modern manufacturing techniques to ensure a more consistent product. By the nature of making an instrument by hand, you're going to naturally have more differences in the way they are finished, the profile of the neck and even how the sunburst is applied. 

Next up is the differences in the materials used. For the most part, Gibson uses the highest quality hand-selected tonewoods. Let’s look at the LP Standard, for example. This guitar features a one or two-piece mahogany back, AAA book-matched flame maple top, and the classic holly headstock veneer, with mother of pearl Gibson Logo. 

Epiphone uses slightly lesser quality woods, and you can find bodies made from multiple pieces. The tops also differ and are normally made from a thinner veneer, giving the illusion of a carved top. That's not to say Epiphones are in any way inferior. It's completely standard practice for most guitars at this price point. To be honest, many players can't even tell the difference between a veneer and a full maple cap.  

Finish differences  

Okay, let's talk finish. This has to be one of the most significant differences between the two brands and the one factor that is a sure giveaway when comparing the two in a blind taste test. Gibson guitars use nitrocellulose lacquer. This is a finish they have used since the 50s and is a signature element of a Gibson guitar. 

Not only does it make your guitar smell like vanilla - seriously, sniff the next Gibson you see, although best to ask permission first - it also allows your guitar to "breathe", aiding in the instrument's resonance. As a finish, it is very playable. As the lacquer is thinner, it wears over time, resulting in a very comfortable played in feel. With that said, it can have its issues, such as reacting to rubber stands and cracking when exposed to extreme changes in temperature. 

As you'd expect, a finish like this doesn't come cheap, and therefore Epiphone opts for a polyurethane lacquer. This is an extremely hardwearing finish that isn't affected by the elements, like nitro and is far easier to apply to the guitar making it quicker to finish the instrument.  

Tone differences 

So, with all these differences in construction, how does this affect the tone? To be honest, that's a nearly impossible question to answer. While it's true Gibson uses handwound pickups - for the most part - and Epiphone opts for the more mass-produced option, it's just not practical to compare the two. 

There are so many options on offer from both companies. Whether you are seeking the spikey tone of a P-90, the high output of modern humbuckers, or the retro tone of the legendary PAF, you'll find it among the offerings from both brands.  

Epiphone Les Paul vs Gibson Les Paul: Notable players

The list of notable guitar legends to have dawned this single-cut beauty is about a mile long; at this point, it would be quicker to list the guitarists who haven't used a Gibson Les Paul. From Slash to Jimmy Page, Mike McCready to Lari Basilio, and many, many more, the Gibson LP has been present at every landmark turning point in rock. 

Epiphone have had their fair share of iconic players over the years as well, and in recent years have added to that roster with a collection of very well-received signature Les Pauls from the likes of Trivium frontman and riff master Matt Heafy, The Spaceman Tommy Thayer of Kiss, and up and coming blues powerhouse Jared James Nichols. Each of these iconic axe-wielders has ditched their USA-made LPs favoring their new Epiphones. Many more are following suit. 

Epiphone Les Paul vs Gibson Les Paul: Buying Advice

Both Gibson and Epiphone split their vast catalogue into two separate categories - Original and Modern - and with Epiphone switching gears in 2020 to the Inspired by Gibson collection, you can now find an Epiphone equivalent to almost every Gibson Les Paul. 

For the vintage enthusiast, you'll want to look at the Original collection. This is where you'll find guitars based on the heritage instruments of the past. There are no mod-cons here, just straight up retro-inspired Les Pauls. So that means no fancy switching, printed circuit boards, or locking machine heads, just classic unadulterated Les Pauls. 

For the contemporary player, you'll want to check out the aptly named modern collection. This is where Epiphone and Gibson offer their most up to date models, featuring the likes of asymmetrical necks for lightning-fast playing, coil-splitting options for a range of tones and eye-catching modern finishes. 

Epiphone Les Paul vs Gibson Les Paul: Our picks

So what would we recommend? Well, when discussing Les Pauls, it's hard not to go straight for the Gibson Les Paul Standard 60s. This guitar has it all: the look, the sound and the heritage - it's a winner for us. However, we are well aware that this guitar doesn't come cheap. So, for the budget-conscious, we'd recommend looking at the Gibson Les Paul Special Tribute. This stripped-back, no-nonsense LP gives you all the tone, with none of the bells and whistles. 

On the Epiphone side of the coin, it's worth checking out their version of the Standard. With the vast improvements in built quality over the last few years, it's sure to turn even the most die-hard Gibson fan into an Epiphone convert. For the modern players, the Epiphone Prophecy is one to check out. We were most impressed with the sheer amount on offer with this fabulously evil guitar. The Fishman Fluence pickups are outstanding and worth every penny.

Following last year's launch of the Gibson Slash Collection signature guitars, sibling brand Epiphone has recently unveiled their own equivalent models as part of their Inspired by Gibson line-up. Sporting the same finish and model names as the Gibsons these new Epiphone Les Pauls are are effectively clones. But how do they measure up? According to Gibson Brands’ Senior Product Development Engineer, Richard Akers, and Product Manager, Aljon Go, they are virtually identical.

How have the Epiphone Slash models been able to achieve such a close likeness to the Gibson equivalents?

Aljon Go: Product Development now services every brand together. So, we have people from the Gibson side and the Custom Shop side and the acoustic side, and the Epiphone side (myself and Richard Akers). We’re a big think tank. Richard is like the Swiss Army knife of the team. He’s a rare breed because he’s got so much knowledge of how things have been done over time. He’s worked at Gibson for many years.

Richard Akers: I’m trying to bring the technical side to the table, but with the love and passion of being a player. Marrying those two together is what’s been very helpful for me over the years. My background is electrical engineering, so I’ve got that piece. But it all started from a love of playing guitar as a kid. That’s what drove me to it. I’ve been with Gibson now for 28 years.

Aljon and I focus on Epiphone, but at this point in the game it’s a team effort. In the past, things have been siloed, where each division – each business unit – was sort of held in isolation. But now it’s a complete team effort between all of the business units within the Gibson brands. So, we work very closely together with Gibson USA and Gibson Custom Shop

How did you manage to get the Gibson and Epiphone Slash finishes to look so similar?

Go: We worked really hard with Gibson and Slash to make sure that those finishes were replicated as authentically as possible. We just wanted to clone them. So, you’ll notice they have a very similar look. The looks are the same and our factory has done an amazing job of our Inspired by Gibson range thus far. The fans have been very happy about that. We just want to continue to grow that level of authenticity.

Akers: We’re in much closer alignment than we’ve ever been companywide. Particularly the models based on Gibsons that are made by Epiphone. We’re the closest we’ve been in my history with the company.

Why do you think that is exactly?

Akers: I think it’s been a combination of a couple of things. Our factory in China has really come of age and is hitting on all cylinders. We’ve got people over there that I’ve worked with for decades now. The people on the ground really know what they’re doing. We have our American management team there on the ground. So, we can really elevate what we’re doing from a production standpoint. That’s one aspect of it. But that’s been in process for many years. 

The other thing is our new leadership team that took over Gibson has been very, very supportive of letting Epiphone become what we’re capable of becoming. We’re working very closely with the other divisions to really fine tune details. We’re in this very close alignment, and that’s been the biggest part of the equation of the last two or three years.

Go: Even though Epiphone is older than Gibson, we’ve always been treated like a little brother. And now, because our factory has been executing so well, we’ve proven we make amazing guitars. We listen to our fans because we’re all players. I’ve been playing Epiphone guitars all my life just like Richard. And we’re bringing Epiphone back – the way it was meant to be. Our founders at the ‘house of Stathopoulo’ would have had it no different. They wanted quality in their little shop in New York, and we’re delivering it now. It feels great to be able to do that.

The Slash Collection are guitars we would be proud to play on any stage. That’s the whole game. That’s why we say, “Epiphone: for every stage.” You can pick it up and play it in an arena, and you can pick it up and play it in your garage. It doesn’t matter. These are quality instruments, so we’re very proud of that.

How similar are the Slash Gibson and Epiphone pickups?

Akers: These Alnico II ProBucker pickups being used in the Epiphone Slash guitars are identical in construction to the Alnico II BurstBuckers being used in the Gibson Slash models. The neck and bridge pickups are different as the bridge pickup is slightly hotter – like an overwound BurstBucker 3 in the bridge and an overwound BurstBucker 2 in the neck.

Go: We wanted to be authentic to the Gibson version, and that also included using orange drop caps and CTS pots in the circuit… People need to know: if you’re a fan of the Gibson Slash Les Pauls you can get that experience with a very accessible Epiphone which uses the same type of pickups. We were able to make a clone of that very same guitar in our overseas crafteries. And it’s very, very close. It is the Boba Fett of Jango Fetts!

How do you think the Epiphone and Gibson Slash guitars compare overall?

Akers: Gibson is still the aspirational brand. If you can afford it, go for it. They’re great guitars. With the highest quality materials. There are slight differences, and someone with a very refined ear can perhaps tell them apart. But for the majority of players, an Epiphone will serve their needs very well. You could buy an Epiphone and take it to the biggest stages in the world and feel comfortable that you’re going to have a professional quality instrument that will perform and be able to get your musical inspiration across. As Aljon said: these Epiphones are “for every stage”.

What was the process like in terms of working with Slash on the custom pickups?

Akers: Gibson worked directly with Slash on developing these pickups to his exact specifications and needs. They worked very closely and got the frequency response to where Slash needed it. There was a lot of back and forth and discussions on what he needed tonally. [Gibson Master Luthier] Jim DeCola sent out sample sets until they found the golden version. And we followed suit by cloning them. Epiphone makes exactly what was developed with Gibson and Slash. It’s just a different point of manufacture.

Are these Epiphone Les Pauls reminiscent of Slash’s tone?

Go: Slash seems to think so. Ultimately, he’s the guy that says, ‘Does this work for me? Thumbs up, or thumbs down?’ And he gave it a resounding thumbs up for Gibson and for Epiphone. He was very pleased. The moment he received the prototypes he posted about it on Instagram, which we were very excited about. It was just one of those resounding ‘you’ve nailed it’ situations. Richard has worked with Slash for many years. The relationship between Gibson and Epiphone and Slash goes back a long way. We’re very excited to just keep it rolling. I love the guitars we make, but regardless of what we think, the ultimate test is for the artist. And we can’t ask for much more than their stamp of approval.

To what extent has Epiphone also been listening to customers?

Go: That’s the great thing about Epiphone’s Inspired by Gibson line – we had an opportunity to really give players what they wanted. In other words, a guitar they didn’t have to mod. And we had that same approach with the Slash guitars: you’ve got great pickups, great hardware, a Graph Tech nut, and CTS pots. Also, Slash requested the binding look like his Gibson USA guitars.

Akers: We increased the binding width slightly. This is another one of these nuances when you get to Asian manufacturing versus US manufacturing; there’s sometimes a difference between [metric] and imperial units with respect to the standard off-the-shelf part. It’s ever so slightly different, but Slash noticed it straight away. This is why working with artists who are really in tune with their instruments is so great. He brought it up and said, “Man, why is that binding narrower?” I mean it was a miniscule amount smaller. But we said, “Yeah, you’re right! Let’s improve that.” So, we made that change. It’s a cosmetic thing, but it’s important to the overall appearance of an instrument. The way someone feels about the instrument influences the way they feel about it when they’re playing it.

It’s like the color of food…

Akers: It matters. I was fortunate enough to have a conversation with Les Paul before he passed. When he was developing the log, he said, “People hear with their eyes.” That’s why he put the two wings on the ‘log’. He said he went out with the log and played it and people were like, “What the hell are you doing? That thing sounds terrible!” But after he went to the Epiphone factory and stuck the archtop wings on it, people heard it differently. And it’s the same with all of these finely nuanced details. The binding was a small feature that has nothing to do with tone. But Slash noticed it. And now when you see it, and you hold the guitar, you just feel like you have something of quality. It makes a difference.           

One thing that always rang true with me and has always been my driving principle to some degree is that that good design doesn’t necessarily cost more. You can do things to improve an instrument that doesn’t cost more. So, with that in mind, we’ve got free reign to go in and make the changes. I mean, it didn’t cost us any more to change that binding, but the overall impression of the guitar is better. 

The Les Paul Standard seems to be a timeless design…

Akers: When its right, it’s right. It’s the essential tool for the style of music that evolved around the tool. It’s a chicken and egg thing. The guitars themselves influenced the direction of where music went. I mean, if you look at a Stradivarius violin: hundreds of years after its creation, it’s still unmatched. When you get it right – when you get all those elements working together – it’s timeless.

Slash really helped bring the Les Paul Standard back in the late '80s…

Akers: He put them back on the map in a big way. Around the time, there was a reversion back to more of a blues-based rock – straight forward rock ‘n’ roll – and the Les Paul was right there at the heart of it. If you listen to Appetite for Destruction, it still sounds great today. It doesn’t sound dated. It just sounds like great rock ‘n’ roll.

Go: I think a hundred years from now, people will look back on the Les Paul and the humbucking pickup and go, “Damn! That’s some good shit!” It’s the heart of rock and roll.

Check out more from Epiphone's Inspired by Gibson range, including the November Burst and Vermillion Burst Slash J-45 flat-top acoustics, here.

As well as owning one of the first ‘Bursts ever made, Slash has enjoyed a long and fruitful history with Gibson. Having done the sales of Les Paul Standards no harm in the late ‘80s when he exploded onto the world stage with Guns N’ Roses, several Slash signature Les Paul models have emerged from the Gibson factory.

• Our pick of the best Epiphone Les Pauls available today

Following the release of the Gibson Slash Collection in 2020 (currently comprising of the Slash Les Paul Standard; Slash "Victoria" Les Paul Standard Goldtop; and Slash J-45) a more affordable alternative has just been unveiled as part of Epiphone's Inspired by Gibson Collection.

As well as inheriting the model names of their Gibson siblings the Epiphone Slash guitars are available in the same finishes. In addition to the Slash "Victoria" Les Paul Standard Goldtop these include Appetite Burst, Anaconda Burst, Vermillion Burst, and November Burst for the Slash Les Paul Standard, while the Slash J-45 acoustic is also available in the latter two finishes.

Featuring high-quality appointments throughout, the Epiphone Slash Les Paul Standards feature a mahogany body with AAA flame maple veneer and pro electronics including Epiphone Custom ProBucker pickups, CTS pots, and Orange Drop caps. 

Of similar merit, the Epiphone Slash Collection J-45 ‘dreadnought’ is constructed using solid mahogany for the back and sides along with a solid Sitka spruce top. An LR Baggs VTC preamp and under-saddle pickup allows flexible amplification when required.

Watch Slash talk about his new Epiphone range of signature models...

For more details visit Epiphone's website here.

Epiphone has teamed up with Alex Lifeson to create a new, lower-cost version of the Rush legend's signature Les Paul Axcess Standard.

The guitar features a mahogany body with a AAA flame maple veneer, a large belly carve, and a sculpted Axcess heel. Its mahogany neck, meanwhile, features a slimmer "Lifeson profile" and an Indian laurel fingerboard with trapezoid inlays and 22 medium-jumbo frets. 

• Our pick of the best Epiphone Les Pauls available today

The guitar is headlined, however, by a Floyd Rose-style Graph Tech Ghost double-locking vibrato that's itself outfitted with a modular piezo system in each saddle for converting string vibrations to amplified acoustic tones. This piezo system also means the guitar is fitted with two outputs.

Pickups-wise, there's an Epiphone Ceramic Pro humbucker at the neck and ProBucker 3 at the bridge, controlled by a shoulder-mounted three-way pickup selector, plus individual volume controls – both equipped with coil-splitting capabilities via a push/pull feature – for both humbuckers. 

Additionally, there's a master tone control and a piezo volume control – also a push/pull operation – for switching the system on and off. The piezo signal can also be blended with the humbuckers for greater tonal versatility.

“The introduction of the Epiphone Alex Lifeson Axcess model based on my Gibson Les Paul Axcess model has all the same attributes and characteristics that I desired so much when we originally designed it,” Lifeson said in a statement.

“The look, the sound, the playability and the utility – it’s all there for the player at any level. I’m very proud of this guitar.”

To celebrate the occasion of the guitar's release, Lifeson also released two new instrumental tracks – "Kabul Blues" and "Spy House." You can hear them in a new commemorative video, Alex Lifeson and Gibson – A 50 Year Ride, below.

The Epiphone Alex Lifeson Les Paul Axcess is available now – in a Viceroy Brown finish – for $899.

For more info on the guitar, stop by epiphone.com.

51 years after the last American-made example of the model rolled off the assembly line in Gibson's former Kalamazoo, Michigan factory, Epiphone has announced that it will begin building Frontier acoustics in the United States once again.

The new Frontier – which will be made in Gibson's main acoustic facility in Bozeman, Montana – features a solid Sitka spruce top, solid figured maple back and sides, and a mahogany, Round C-shaped neck boasting an Indian rosewood fretboard with 20 frets, mother-of-pearl slotted rectangle inlays, and a 25.5" scale length.

The acoustic boasts hand-scalloped X-bracing and an under-saddle L.R. Baggs VTC pickup, which can be tweaked by master volume and master tone control wheels perched on the soundhole.

• These are the best acoustic guitar strings

Of course, there's also the Frontier's "lariat and cactus"-themed Imitation Tortoiseshell pickguard, while other appointments include Gotoh Keystone tuning machines and a Belly Up Indian rosewood bridge with Tusq bridge pins and a bone saddle.

The Epiphone Frontier acoustic guitar is available now – in Frontier Burst and Antique Natural finishes – for $3,999.

For more info on the guitar, stop by epiphone.com.

The original Epiphone double-cutaway solid-body line of guitars – the Wilshire, Coronet, and Crestwood – pre-dated the Gibson SG by a couple of years. 

The line never achieved the popularity or collectability of their Gibson cousins, but the Coronet at least will go down in history as the guitar wielded by Steve Marriott in Humble Pie. The Wilshire’s glory resides in being held by Jimi Hendrix in a famous publicity photo taken when playing in Nashville with Billy Cox.

The Crestwood achieved notoriety more recently when Prince borrowed one owned by Captain Kirk Douglas of the Roots, tossed it up in the air, and let it smash on the stage. Gibson has re-released all three, choosing to go with the classic three-on-a-side headstock of the original ’50s models rather than the six-on-a-side “batwing” style of the later versions.  

We picked the Crestwood Custom for review. Unlike the Coronet and Wilshire – which have one and two P-90s, respectively – the Crestwood sports a pair of mini-humbuckers. The review model came in classy Polaris White (Cherry is also available) that covered the neck and the back of the headstock as well as the body, displayed through a see-through pickguard. 

The reissue replaces the original rosewood fretboard and vibrato system insert with more sustainable (and still attractive) Indian laurel. The white buttons on the Kluson-style tuners help slot the look somewhere between budget and elegant, but more importantly they are tight and accurate.

The C-shaped neck, 12.01-inch radius, and medium jumbo frets, combined with an excellent setup, made for an affordable instrument that was a pleasure to play. The intonation was excellent and, thanks to a well-cut nut, the guitar stayed in tune through vibrato arm action just short of dive-bombing.

Some minor caveats: The break over the bridge is somewhat shallow, so snapping the high-E string can pull it out of saddle, but aggressive fingerstyle playing elsewhere wasn’t an issue, and the sustain was surprisingly good. The body was so light that, even with the vibrato hardware, the guitar was a tad neck heavy. Still, the Crestwood was comfortable to play, either sitting or standing.

The three-way switch occasionally lost contact with the neck pickup, and produced electronic clicks when changing pickups, so you might want to consider an upgrade there, though not necessarily anywhere else.

The controls worked well, with the tone pots especially well-voiced, providing easy access to “woman” tone. You will have to get used to their tight configuration and close proximity to the input jack. An angled guitar cable will help.

The mini-humbuckers had all the attributes of their ilk: a cross between a single-coil and a humbucker, with less low end than a full-size humbucker, less midrange hump than a P-90 and plenty of top end to cut through a mix.

With a slap-back delay, I was able to get Gretsch-like twang, and some vibrato, while longer delay and compression yielded a lovely, ambient, dream-pop chime. Through a Danelectro Roebuck overdrive and into a Supro Comet, the Crestwood created its own brand of distinctive distortion.

The Epiphone Crestwood Custom maintains the brand’s tradition of offering gig-worthy guitars at affordable prices. Its distinctive sound and styling, excellent vibrato system, and high degree of playability should make it worth checking out as an addition to any guitarist’s arsenal.

Specifications

• PRICE: $549 street
• NUT WIDTH: 1.69”
• NECK: Mahogany
• FRETBOARD: Indian laurel
• FRETS: 22 Medium Jumbo
• TUNERS: Deluxe Vintage with ivory buttons
• BODY: Mahogany
• BRIDGE: LockTone Tune-o-matic
• PICKUPS: Two Pro Mini Humbuckers
• CONTROLS: Bridge and neck pickup volume and tone, three-way selector
• FACTORY STRINGS: .010–046
• BUILT: China
• CONTACT: Epiphone

Epiphone has teamed up with blues-rock guitar hero Jared James Nichols for a new signature guitar, the “Gold Glory” Les Paul Custom.

A limited-edition version of Nichols's first signature Epiphone Les Paul – the "Old Glory" Les Paul Custom – the "Gold Glory" features a '55-style Les Paul Custom body outfitted with a striking, aged Double Gold finish.

Like its Black-finished predecessor, the Gold Glory features a single Seymour Duncan P-90 Dogear bridge pickup – with individual volume and tone knobs – a mahogany neck boasting an ebony fingerboard with traditional block inlays, and Grover Rotomatic tuners.

"’Gold Glory’ is an icon of a guitar,” Nichols said in a press release. “Between the beauty of the tone, and glitter of the gold, it is breathtaking and bold. It’s simplistic, and powerful, a complete classic, yet rooted in today. 

"I am honored to continue my ‘Glory Days’ with this incredible new signature model. I cannot wait to get this guitar out into the world and into the hands of players looking to find their own unique voice. Simply put, ‘Gold Glory’ inspires me to play, create, and perform at my very best."

The Epiphone Jared James Nichols “Gold Glory” Les Paul Custom is available now – with an EpiLite case included – for $699. 

For more info on the guitar, head on over to epiphone.com.

As part of Epiphone's Inspired by Gibson range – first unveiled in January 2020 – it was announced that, along with new, low-cost Epiphone versions of classic Gibson models, a couple of classic Epiphones in turn would be given a premium, American-made treatment.

Over a year later, Epiphone has announced the second of these American-made models (following the Texan acoustic), the USA Collection Casino.

The gorgeous hollowbody features a three-ply maple and poplar body, and a solid mahogany rounded C-shaped neck boasting a 12”-radius Indian rosewood fingerboard fitted with a Graph Tech nut.

Most notably, this American-made Casino boasts a pair of dogear Gibson USA P-90 pickups, featuring vintage, braided two-conductor wiring and wax potting, and hand-wired to Orange Drop capacitors. The P-90s come in either black or nickel, depending on which finish you choose for the Casino – Royal Tan comes with nickel P-90s, Vintage Sunburst with black P-90s.

Other appointments on the guitar include Vintage Deluxe tuning machines, a Thinline Trapeze tailpiece, and an ABR-1 bridge. 

The Epiphone USA Collection Casino is available now for $2,699, not too far off what your standard American-made Gibson would set you back.

For more info on the guitar, stop by epiphone.com.

Epiphone has teamed up with up-and-coming Austin, Texas-based singer/songwriter and guitarist Emily Wolfe to create a new signature model. 

The Emily Wolfe Sheraton Stealth features a maple body and a mahogany neck that sports an Indian Laurel fingerboard with 22 medium jumbo frets and mother-of-pearl block inlays with abalone lightning bolts.

Sounds on the guitar come by way of a pair of Epiphone Alnico Classic Pro humbucker pickups, controlled by two volume knobs, a single tone knob, and a three-way switch.

Other features on the guitar include a Graph Tech nut, an Epiphone LockTone tune-o-matic bridge, and Grover Rotomatic tuning machines. Further visual appointments include gold hardware, a ‘60s Kalamazoo-shape headstock with Wolfe’s mother-of-pearl tree of life logo on the front, and diamond f-holes, a nod to Trini Lopez's signature Gibson.

“My Sheraton is more than a guitar, it's an extension of me and somehow has the same magic that a rare vintage instrument has, in that songs flow out of it every day,” Wolfe said of her new signature model in a statement. 

“There's no barrier between my creativity as an artist and the audience because my Sheraton so easily becomes a part of me.”

The Epiphone Emily Wolfe Sheraton Stealth guitar is available now – in a Black Aged Gloss finish – for $799.

For more info on the guitar, stop by epiphone.com.

The relationship between two of our most storied American guitar makers goes back to 1957, when Gibson purchased the New York–based Epiphone company and applied the brand name to new guitars built alongside its own in the Kalamazoo factory. 

Come 1970, Epiphone was shifted into more of a downmarket option, with production moved overseas and prices aimed at entry-level players. The new Epiphone Limited Edition 1959 Les Paul Standard, however, represents a return home of sorts.  

Although manufactured in China, it’s the first Epiphone guitar made in collaboration with the Gibson Custom Shop in Nashville, and as a result, it displays a wealth of enticing vintage-inspired details for a Les Paul, with a price tag well under $1,000.  

“Our relationship with Gibson Custom Shop has always been great,” Epiphone product manager Aljon Go says. “In this new era for Epiphone and Gibson, our product-development team’s synergy takes full advantage of everyone’s combined experience, contributing to the success of all of our brands. 

"For this ‘Inspired by Gibson Custom’ guitar specifically, we wanted to bring that authenticity and quality that people associate with our Custom Shop, but make it accessible with this ‘Vintage for All’ mentality.” 

While we have to expect that some corners were cut to boil a $5,000 Gibson Custom Shop Les Paul down to a sub-$1k price tag, Mat Koehler, head of product development at Gibson Brands, insists, “There is no quality gap, just a detail gap, in my opinion. “And therein is the main benefit of the Custom Shop team oversight. 

• Our pick of the best Epiphone Les Pauls available today

"For decades, the Gibson Custom Shop has been pushing the limits of historical accuracy to 1959 in both construction and the minute aesthetic details. So this is really a chance to apply as many of those meaningful ‘geek specs’ as possible to the Epiphone platform, from the long neck tenons to the vintage-style wiring harnesses to the unbeveled pickguards.”

Other noteworthy specs include a AAA maple top, full-weight mahogany back, genuine Switchcraft toggle and jack, CTS 500k potentiometers, Mallory tone caps, Gibson Burstbucker 2 and 3 humbuckers, tall pickup rings, 1950s-style wiring, a rubbed VOS-style finish, custom switch-plate medallion, and a historic-style brown case with pink lining.

The hand-rolled fingerboard edges that enhance the rounded ’59 neck profile are worth a mention, and to my mind – or left hand, at least – certainly take the playing-feel factor upmarket on this guitar.

“It’s a tremendous value and an undeniable set of features for a Les Paul,” Koehler says, “Epiphone or otherwise.” 

It’s worth clarifying that the top is made from carved hard maple with a AAA-figured veneer to add the flames (you wouldn’t know one way or the other just from looking at it). And while a vintage-correct, non-beveled pickguard is specified, the one included on the review guitar was, inexplicably, beveled.

Acknowledged in the spec sheet, the fingerboard is of Indian laurel rather than rosewood, but it captures the same general look and feel, with perhaps marginally less richness in the hue and with the benefit of not being an endangered species. And while the guitar lacks a period-correct bridge, the larger insets and format of the Epiphone ToneLock ABR-1 bridge and stop-bar tailpiece represent an upgrade in a guitar at this price point.

The finish on this guitar feels more matte than the lightly aged VOS of most Custom Shop guitars, but it’s appealingly tactile to the touch and has a nicely played-in look. Likewise, the neck feels great – chunky and rounded in the style of a late-’50s Gibson carve that I really adore, but not so clubby that it’s likely to put off many players.

The fret crowns are well dressed, and the guitar plays well in all positions, although the fret ends are themselves a little sharp and can hitch slightly as you run your hand the length of the neck. Likewise, the two forward corners of the Graph Tech NuBone nut can dig in if you back into them too hard. All in all, though, at this price and given the wealth of bonus features, it’s a job very well done.

So what does it sound like? A Les Paul! Tested through a Friedman Small Box head and 2x12 cab and with several presets on the Fractal Axe-FX III into my studio monitors, the Epiphone Limited Edition 1959 Les Paul Standard does everything you’d expect of a good Les Paul – which is to say it exudes a range of tones that need no introduction.

The Burstbucker 2 and 3 in the neck and bridge, respectively, are tried and tested, used in many Gibson U.S.A. models, and they deliver a broadly successful rendition of “that Les Paul thing” into both clean and overdriven amps. 

From raucous, crunchy power-chord rhythm to barking, screaming bridge-position leads to warm, throaty blues excursions on the neck pickup – the seminal sounds are all there and entirely stage-ready.

The core voice of this guitar might not be quite as Burst-precise as, say, the Gibson Custom Shop 1958 Les Paul Reissue I have sitting next to it (currently rotating through sets of high-end reproduction PAFs for an upcoming roundup in these pages), but of course that’s a much more significant investment.

Sling the Epiphone over your shoulder, fire up your amp of choice, and go at it down at the local rock dive on a Saturday night when such pursuits are once again an option, and likely no one in the crowd will know the difference. That and your smile will give away how much fun you’re having.

Specifications

• PRICE: $799 street
• NUT: Graph Tech NuBone, 1 11/16” wide
• NECK: Mahogany, 24.75” scale length, rounded “C” profile
• FRETBOARD: Indian laurel, 12” radius
• FRETS: 22 medium-jumbo
• TUNERS: Epiphone Deluxe with tulip keys
• BODY: Solid mahogany back with carved maple top and AAA flamed maple veneer
• BRIDGE: Epiphone LockTone ABR-1 and stop-bar tailpiece
• PICKUPS: Gibson Burstbucker 2 & 3
• CONTROLS: Two Volume and two tone controls, three-way switch
• FACTORY STRINGS: Epiphone .010–.046
• WEIGHT: 9.3 lbs
• BUILT: China
• CONTACT: Epiphone 

Epiphone has teamed up with Heart guitarist Nancy Wilson to create the new Nancy Wilson Signature Fanatic guitar.

Based on Wilson's Gibson Nancy Wilson Nighthawk Standard – which was first introduced in 2013 – the guitar features a Nighthawk-shaped mahogany body and a figured maple veneer top, plus a rounded "C" profile mahogany neck with an ebony fretboard, and a commemorative "Fanatic" truss-rod cover.

Sonically, the Fanatic is outfitted with ProBucker humbuckers, controlled by a five-way pickup selector switch, and master volume and tone controls. 

"In the midst of the distant Eighties, I was approached by Gibson to design a signature model,” Wilson said of the guitar in a statement.

“I put pencil to paper to first design the body shape and chose a curvy female diminutive silhouette for the cut away. Many years later the body shape remains exact and the hardware I requested makes the Fanatic a solid citizen amongst the great rock guitar screamers.”

The Epiphone Nancy Wilson Signature Fanatic guitar will be sold – with a hardshell case included and in a Fireburst Gloss finish – for $529.

For more info on the guitar, stop by epiphone.com.