You know what? I genuinely get excited when Black Friday rolls around, especially when there's a slew of Gibson and Epiphone deals to sink my teeth into. This year, I was honestly blown away by the number of fantastic bargains out there. Stores like Guitar Center and Sweetwater have some amazing discounts on everything from Gibson classics to Epiphone signature models and so much more.

As someone who's a huge fan of Gibson, I have to say that my love for their instruments runs pretty deep. Sure, my collection isn’t all about Gibsons, but they definitely make up a huge chunk of it. Out of my 25+ guitars, 13 of them are Gibsons, so you can imagine my excitement when I see a bunch of them on sale.

And just to be clear, I’m not one of those guitar purists who turn their nose up at Epiphone. I genuinely think they offer incredible bang for your buck. The current line from Epiphone is fantastic, blending timeless designs with modern features. Whether you’re looking for spot-on replicas of classic Gibson models or some cool new designs, there’s a lot to appreciate. Below, I've highlighted a few of my personal favorites that I've come across while browsing online.

If you've ever thought the world of electric guitar is due for a P90 renaissance, you’re probably not alone.

In the past few months, diehard humbucker players like Joe Bonamassa and Warren Haynes have leaned into P90s. Last October brought the arrival of Bonamassa’s Epiphone 1955 Les Paul Standard, the first guitar in his Artist Series to feature P90 pickups.

Then, in mid March came word that Haynes’ new signature Gibson Les Paul Standard will also feature P90s.

Now we’ve learned that Bon Jovi guitarist Phil X is working with Gibson on a signature SG equipped with P90s.

It's quite an about-face for the humble P90.

The single-coil pickup has been made by Gibson since 1946. But with the arrival of the humbucker in 1957, the P90 took a backseat to its double-coil sibling.

But as many guitarists have discovered, P90s have a lot going for them. Crank ‘em up for rock and roll, dial ‘em back for country, or a little further for some glassy Tele tones. Available in soapbar and dog-ear formats, they are the same pickup in either mounting configuration, though some guitarists are certain they hear a difference. (And as you'll see, Joe has his own theory about this.)

As for that tone, it's more beloved than you might think.

Bonamassa himself declared, "Most people who are dyed-in-the-wool Gibson people, they'll say behind closed doors — when the internet's not watching — that their favorite pickup is a P90."

As Haynes told us, he chose P90s for a few reasons. In addition to giving him tones that are different from his go-to sounds, they allow him to change up his vibe without relying on pedals.

“I’m not depending on pedals for the majority of the sounds that I use,” Warren says. “I like to change the volume knob on the guitar to get a lot of different sounds that way, and P90s are definitely great for that."

Having spoken to Warren, we thought we'd ask Joe and Phil to weigh in on the subject. Here’s what they told us.

Joe Bonamassa

Although he’s admittedly a “humbucker guy,” that didn’t stop Joe Bonamassa from releasing a P90-equipped Epiphone Les Paul at the end of 2024 in a spectacular, vintage-inspired Copper Iridescent finish.

“I was using the Epiphone onstage the other night for a song or two,” Bonamassa tells Guitar Player. “I really liked the way it sounded. It sounded really great.

"But," he cautions, "you are subject to the same noise issues that a single-coil will produce — though that’s also part of the charm.”

That charm, which dates to the 1950s and 1960s when P90s were often found in Les Paul Jr. and SG models, has captivated the minds of some guitarists and left just as many dumbfounded. As for Bonamassa, a collector of such seductive relics, he says, “They all tend to sound pretty good.

“But my favorite P90 guitar is a 1961 SG Special in Polaris White," he adds. "It’s the Pete Townshend spec. That thing just roars!”

That said, Bonamassa generally reverts to his humbucking ways, though he admits to the versatility of a P90. “You can play anything on them,” he says.

At the same, he notes, “I can take a [DiMarzio] Super Distortion or a [Mighty Mite] Motherbucker and play straight jazz if I had to!"

He laughs at the idea of it all.

"They’re all versatile," he contends. "It’s the player. It’s not rocket science. Look, Les Paul himself didn’t play rock or blues, you know?”

Ultimately, while Bonamassa respects P90s enough to put them on a signature guitar, he’s not about to ditch humbuckers anytime soon.

“Oh, no,” he says. “If that was gonna happen, I would have done that years ago. I’m getting set in my ways. But like I said, it depends on the song, and the application.”

Your recent signature Epiphone Les Paul has P90s on it, which is a bit of a departure for you. What's the appeal?

Well, all my signature stuff is based on old guitars that I won, so the brown P90 Les Paul that we did last year is based on two original ones that I own from the ‘50s. We’d never done a P90 guitar, and they have that thing. They clean up really well; they roar. Juniors and Specials, sometimes they roar. They hit harder.

What tonal possibilities do P90s open for you that humbuckers or Stratocaster-style single-coils don’t?

They’re their own thing. With P90s, you’re generally talking about pairing them with an all-mahogany body, like a Junior, a Special or a Les Paul Standard. You usually have a maple top, which adds a little brightness, and a mahogany back. P90s tend to read in the high sevens and low eights [ohms], so they’re a very specific thing.

A lot of people even set their rigs to P90s and set their gain structure to the P90. I guess I have to break that code because my rig is set for humbucking pickups, so the gain structures are different.

If you were to alter your rig to accommodate a P90, how would you do it?

Generally, if I’m using a P90 guitar, I’m playing rhythm. I love a P90 through a Fender Deluxe, a Vox, or even a JCM45 Marshall, you know? That’s like instant Who Live at Leeds. The P90s are great for power chords. You hear all the notes in-between, and they’re very articulate.

What’s the trick to intermingling P90s with effects pedals?

I find that P90s take boost pretty well, though sometimes you don’t really need to boost at all. They have plenty of gain. Plus, I don’t use a lot of gain to begin with.

There’s an argument to be made that P90s are more versatile than humbuckers since they run the tonal gamut from rock to blues to country.

It depends on the wood [of the guitar]. I’ve seen P90s jammed into Telecasters, and I’ve seen a bunch in a Les Paul context, but they are pretty versatile. Everybody tends to trade up to a PAF, but that’s a different animal altogether.

So P90s are very versatile, but they’re not like Fender pickups, which tend to be more scooped in the midrange. P90s tend to have more midrange and a little more output.

Some guitarists are certain dog-ear and soapbar P90s sound different. Have you ever found anything to back that up?

It’s just the cover. I can’t hear the difference between plastic, you know? It’s the same pickup under the soapbar and the dog-ear. [laughs]

And yet some players swear by dog-ears over soapbars, and vice versa.

Those people are full of shit. [laughs] I’m sorry, but tell me you don’t know anything about guitars without telling me you don’t know anything about guitars. [laughs] It’s the same fucking square magnet; it’s the same pickup! [laughs] It’s like going, “I prefer the sound of Bakelite versus polystyrene versus plastic.” If you can hear those nuances, my hat’s off to you.

What do you think they’re actually hearing?

Here’s the thing: Generally, the dog-ear is put in a Les Paul Junior, and a Junior is different than a Les Paul Standard. There’s no maple cap, and it’s all just mahogany, so the wood is going to change the nature of the guitar with the pickup in it. If you put a maple cap on a Les Paul and stick the same pickup in there, it’s going to sound different because of the maple.

You’ve got a signature Epiphone Les Paul with P90s, Warren Haynes has a signature Les Paul Standard with P90s, and Phil X is working on a signature SG with P90s. Are we experiencing a P90s renaissance?

I don’t know. I mean, Warren historically has been a humbucking pickup guy for his whole career since I’ve known him, for 30 years. I was surprised to see that he went with the P90s. But everybody’s tastes change, and everybody has different needs and applications.

Phil X

Seeing as Phil X is the lead guitarist for Bon Jovi, one of the more iconic glam rock bands of all time, you might assume he's into hot-rodded Strat-style guitars. Unless you've seen him play live, you might now that he's hooked on old-school P90 pickups.

According to Phil, P90s give him all the tonal options and versatility he needs to tackle Bon Jovi’s iconic catalog, as well as his music with his solo band, the Drills.

He tells Guitar Player, “What I like about the P90 is, if I have the volume on 10, it’s angry rock and roll, full of angst and spit.

“Then, If I turn it down to seven, I get Telecaster country sounds. And when I turn it down to three or four, I get beautiful, glassy cleans. It doesn’t get muddy or murky; it’s nice and bright and in your face.”

Phil loves his P90s so much that he’s working on a signature SG equipped with them. Currently in the advanced prototype stage, the guitar features a thicker body and neck. Phil calls it "my favorite."

“I love how it feels when I’m wearing it or sitting with it. I just did three shows in Texas, and I played that guitar every night. I was like, ‘Man, this is the one.’ I’m really excited for it to be released by Gibson in the next year or so.”

Phil’s love for the P90 pickup is clear, although he admits that, due to its hum-laden and perceived uncontrollable nature, not everyone agrees.

“A lot of people are listening with their eyes instead of their ears,” he says. "They’re like, ‘Oh, no, that’s a P90, it’s gonna sound like that.’ I’m like, ‘No, wait until you hear it.’ "

He recalls a studio incident when he was playing a 1966 Gibson ES-330.

"It has nickel-covered P90s,” he says. “When I plugged into a Marshall and hit an A chord, everyone ran in and said, 'What’s that guitar?'

"That guitar was magical, but it was the P90 that took the magic and made it undeniable.”

What first turned you on to P90s to where you developed a signature unit with Arcane?

I just find them super dynamic. I really got accustomed to the P90 that I did with Arcane, which was called the PX-90. We tried different gauges of wire, different winds, and stuff like that. We settled on this one magic recipe, and it was amazing.

Does your attack change when you’re playing with P90s?

It all comes back to how dynamic they are. If you pick close to the bridge, they’re going to be really bright. And if you pick closer to the fretboard, then it’s going to be darker. Every pickup does that, but it’s more articulated with a P90.

Do P90s alter your amp choices?

It’s funny you asked that because my approach does change with the amp. If I use an old [Marshall] Plexi, I know I can’t hit the guitar as hard because it’ll fart. [laughs]

Are your amp settings much different from when you’re playing with humbuckers or Strat-style single-coils?

I don’t know if there’s much of a difference. I know when I plug into an amp, if I’m not familiar with it, I start with everything at 12 o’clock and then flavor to taste. And I find that the P90 has enough bite, so I don’t have as much presence up on the amp, but it’s never a bass thing.

A bass thing?

No matter what guitar I use, I feel like I have to have the bass to where it’s not thumpy — but I want it to be violent, like unchained, you know? I'm talking about that low thing, where you hit it a little too hard and it goes sharp, and then you back off and it’s in pitch, and it’s got a violent sound to it. For me, the P90 does that way more accurately than, say, a humbucker.

Do you find that P90s are effective for Bon Jovi’s music, given that many of those songs were recorded with Strat-stye guitars back in the day?

If I have a P90 in an SG or Les Paul Jr. guitar, and I’m playing “Raise Your Hands," then I’ve got the guitar on 10. But if Jon wants to go into “Lost Highway,” which is a country song, without me changing guitars, I’ll pick a P90, because I can just change the volume to get what I need. I'll put it on 10 for “Raise Your Hands,” and drop it to seven for a more country sound on “Lost Highway.”

So the P90s offer you more tonal options and versatility than a humbucker or a Strat-style single-coil.

I think so. If I only have a guitar with one P90 in it, which is usually when I play with my band, the Drills, that’s all I need. And when I want to get that woman tone, I just roll off the tone knob, and it gives me a beautiful woman tone. It’s clearer than a humbucker when you roll the tone off.

See, with me, no matter what pickup it is, it’s always about clarity.

What are your observations on how P90s interact with effects pedals?

It depends. If you use overdrives, you’ve got to watch how much overdrive you put on a P90 because it hums, you know. You get that single-coil hum, though I’ve always been able to control it by facing Mecca or something similar.

Are P90s ever so uncontrollable that you can’t use them?

It’s not uncommon to be in an old stadium in Europe, and you show up at soundcheck and your tech is like, “We can’t use any P90s or any single-coils today because there’s a broadcast station right next door, and the hum is ridiculous.” [laughs] So there’s that!

Having said that, is the dreaded P90 hum as outrageously bad as it’s made out to be?

Well, I’m used to it. You just adjust and acclimate. For instance, if I’m in a room that’s kind of buzzy and I’ve got to play something like [AC/DC’s] “Back in Black,” I’ll literally be rolling down the volume knob in between chords. [laughs]

But at the same time, there’s always a place that you can face where it’s not as bad. And I don’t use a lot of gain, so I can get away with it. But a lot of people say, “Hey, how do you get rid of the hum when using a high-gain amp or with all my overdrives on?” I’m like, “Yeah… that’s not gonna work.” [laughs]

You’re working on a signature P90-equipped SG with Gibson. What’s the story there?

It’s just everything that I’ve been saying. Every time I picked up a Junior or anything with a P90 in it, I was always like, “Oh, man, this is what I like! This is what I really dig. I can do anything with it.” And also, every time you play in front of a bunch of guitar players, it’s like research.

So I’d have two guitars, one with a P90 and one with a humbucker, and I’d be using the P90 guitar all night. And I’d have five or 10 guys come up to me and go, “Man, I thought the P90 guitar was gonna be your spare, but you used it all night — and you got every tone out of it.” I’d respond by saying, “Yeah, that’s what it does; it does everything.”

Why is your signature SG your favorite above other P90-equipped guitars you have?

Well, I’m a bigger guy, so the SG feels like a smaller guitar sometimes, depending on my mood. But with the prototype that I’ve been playing lately, Gibson made the body an eighth of an inch thicker, which is amazing for weight and balance. So we made the neck even bigger. I’ve got a ’57 Goldtop neck profile on it.

Do you think the thicker body impacts the tone of the guitar?

I don’t think so. I love punch and clarity, and to me, the punch and clarity of that guitar are way more apparent with the P90. But the thickness and the weight of the guitar didn’t change that all that much. It’s more of a feel thing.

You’re primarily a rock player, but do you feel P90s, like the ones in your upcoming signature SG, are also well-suited for players within other genres?

I think it could be used by anybody. I mean, the neck pickup also sounds fantastic for jazz or blues. And then, the treble [bridge] pickup is just everything. You can get twang by turning it down, and you can get a punch in the face by turning it up.

You’ve got a signature SG with P90s on the way, Warren Haynes just released a Les Paul Standard with P90s, and Joe Bonamassa recently dropped an Epiphone Les Paul with P90s. Are we seeing a P90 renaissance?

I think you’re onto something! [laughs] I personally think it’s amazing that it’s resurfacing like that. I’m seeing more P90s all over the place, but it’s not the heavier rock players that are doing it; it’s mainly the guys that play blue and more classic rock.

I always tell people, “Man, it’s gonna sound great. Let me plug in and listen to what it sounds like before you make your decision.” Once I start playing, their eyes get wide, and it’s like, “Man, that sounds amazing!”

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.

Jared James Nichols is mighty stoked about his new, self-titled album, but truth be told, he’s thrilled that he was able to make a record at all.

In October 2021, a few months before hitting the studio, he broke his right arm when he picked up a road case the wrong way and his arm twisted under the stress. The accident required surgery and left him with a metal plate and 16 screws in his arm – and not a lot of assurance from doctors that he’d be able to play guitar again.

“It was every guitar player’s nightmare,” Nichols says, “but I was determined that nothing would stop me. I said, ‘Give me my guitar. I’ll work it out.’ It took some time, but I came through it. To be here playing better than ever, and with the best record I’ve ever made, I’m filled with nothing but gratitude.”

Nichols’ assessment of his third album is no cavalier boast. The 12-cut record, recorded live to tape, is an absolute smoker that should come with a warning: “Not for the Faint of Heart.” There’s gonzo blues blasters (“My Delusion,” “Hard Wired”), Sabbath-inspired Earth movers (“Hallelujah,” “Easy Come, Easy Go”) and action-packed updates on grunge (“Skin ‘n Bone,” “Down the Drain”). And that’s just half of it.

A fingerstyle guitarist with a pummeling approach that’s more Johnny Ramone than, say, Segovia, Nichols distinguishes himself through the set as a font of creativity: Every time you think one of his fiery riffs is going to zig, it zags.

“The last thing I want to do is play the same old licks you’ve heard time and again,” he says. “Too many guys get stuck in a rut with riffs because they aren’t serving the song. Each song said something new, and my attitude was, Okay, let’s see where this thing takes me. And every time, it surprised me.”

Where did the whole playing without a pick thing come from?

I’m a lefty. When I started on guitar, I held a righty guitar upside down, and I was like, “Oh, this is cool.” My first guitar teacher told me to flip the guitar over, and he put a pick in my hand. I tried to get with it, but my motor skills in my picking hand just weren’t there. My hand felt flimsy. But whenever I used my fingers, I felt really connected to the strings.

Everybody told me, “Don’t do that,” but I went for it. Then I saw videos of Jeff Beck and Mark Knopfler, and there was Derek Trucks and Albert King. I said, “All these cool guys can do it, so I can, too. I went at it 12 hours a day.

I imagine it was hard on your picking hand.

Oh yeah. There were a lot of trials and tribulations. I tried using my nails, and that didn’t work. I remember playing a gig where I ripped my thumbnail clean off. It was horrible. So I went from using my nails to going flesh on strings.

Over time, I was able to play more aggressively because I now had the world’s fattest guitar picks. I can do so much with my fingers – not just single-note stuff but I can play riffs with drones underneath. Fingerstyle opened up a new universe for me.

Your stylistic approach is interesting. There is blues, but there’s also classic rock and a definite grunge influence.

Yeah, people think I’m going to be straight blues, but I grew up in the 2000s, so the first bands I heard were Soundgarden, Nirvana, Alice in Chains, Van Halen – stuff like that. Through my parents, I heard Patsy Cline and Santo & Johnny, and I loved them.

Once I found classic rock, I was playing guitar and learning riffs, so I wanted to know where Zeppelin and the Who got their stuff from. That led me to the blues: “Oh, Jimi Hendrix was into Buddy Guy? Clapton was into Hubert Sumlin and Otis Rush?” Jerry Cantrell’s “Man in a Box” is really a souped-up blues riff.

You lead a pretty classic power trio. Did you ever work with a second guitarist?

I tried, because when I started the trio I realized how much space I had to fill. But whenever I tried bringing in another guitar player, I would just play on top of them. It was a guitar fight. 

Then I started touring, and it just made more sense to streamline everything. I found my way as a singer who plays guitar. Now I love all the freedom I have with the trio.

Like your last album, you recorded this record live and loud in the studio.

Sure did, and I have to credit Eddie Spear, my producer, for going with that. We have the same brain. Instead of, “We’d better turn this down,” he’s like, “Let’s see how far we can push this till something blows up.” [laughs] So we cut the tracks live and loud, with minimal overdubs. I’m singing as we play.

The only thing that flipped me out at first was when he said, “Oh, by the way, I love to cut to tape.” Right away, I got nervous because that meant the band had to be right on the money. Every lick, every solo – every everything had to be well rehearsed.

The solo in “Easy Come, Easy Go” is insane. What’s going on there?

That was a happy accident. I was doing this descending riff on a ’56 Les Paul Junior, and I went right up to the amp and started doing this feedback loop. The pickups went wild, so I worked with it. It kept building and building. 

I wasn’t going to play the solo that way, but it just happened. So that was an instance where we were totally rehearsed, but everything turned in a positive way.

Does that happen a lot, where you just lose yourself while soloing?

Absolutely. Like in “Hallelujah” – I don’t even remember cutting it. That’s what happens – I do lose myself. I used to get scared about that, but with this record, I listen back to the solos and I think, What was I doing? Why did I do this? But then I think, Well, it sounds cool, so I must have been inspired at that moment.

I could mention a lot of songs, but there’s one in particular, “Good Time Girl,” that really shows off your vibrato.

Thanks. I’ve always been obsessed with bending and vibrato. There’s that saying: “You can identify a guitarist with just one note.” That’s what I aspire to. I love to play hot-shit fast guitar, but when I can hit one note and make the guitar cry, it shakes me to my core.

You mentioned a ’56 Les Paul Junior. Was your “Old Glory” Les Paul one of the main guitars on the record?

“Old Glory” was the go-to. Nothing besides P-90s were harmed during the making of this record. [laughs] I had “Old Glory” and my “Ole Red” Les Paul, which is a 1953 with soapbars. I also had my newly acquired ’52 Les Paul that had to be restored after it was practically destroyed in a tornado. I think those were the main ones.

And, of course, you recently came out with your own “Old Glory” and “Gold Glory” signature models from Epiphone.

Yeah, man. My mind is still blown about them. Like I said, I’m just a grateful guy at this point. If I have any advice for people, it’s to do what you love and believe in yourself. And I don’t say that in a cheesy way. It’s all true.

Order Jared James Nichols' self-titled album here.

Nowadays, Slash is known the world over as the lead guitarist in Guns N’ Roses – the L.A. hard rock band with whom he made a name for himself as one of the most influential players in guitar history.

As a fan of the Gibson Les Paul design, he had a great deal to do with re-popularizing the iconic electric guitar when GnR hit the bigtime in the late ‘80s.

This eventually led to his current signature collaborations with both Gibson and Epiphone.

But like so many guitar players before and after, Slash came from humble beginnings. It was through sheer determination and hard work that he made it happen.

In this interview extract from the December 1991 issue of Guitar Player, the guitarist recounts how he first got his world-famous chops together (and explains why he once tried to demolish a wall with a Les Paul copy.)

How did you get started?

My first guitar was a one-string Spanish acoustic that was lying around the house. I taught myself a UFO song and “Smoke on the Water.”

My grandmother was really sweet; she bought me an Explorer copy that I flipped out on. Unfortunately, it was a piece of shit.

Then I got a Memphis Les Paul copy. At rehearsal one day, I ended up sticking it through a wall neck first because I could not keep the fucking thing in tune.

Did you practice a lot?

I was a workaholic. I'd play 12 hours a day. I picked it up really quick because I was naive in a way. I wasn't starstruck and I wasn't so flipped out by other guitar players that they intimidated me.

I didn't feel like I was trying to reach some goal. I was just learning. A lot of people go, “It's gonna take me 10 years to reach this place,” and it freaks them out.

I’m real single-minded, so once I got into guitar that's all I did. It basically replaced school.

At some point you got a good instrument.

That was a B.C. Rich Mockingbird. I wish I had it now. I hocked it during one of my so-called bad periods. But I played that while I was going through different bands.

Later, I got a handmade Les Paul copy, built by a guy who makes awesome guitars, better than anything the company produces now – nothing against Gibson.

I think that’s when I turned into a Gibson freak – Gibson and Marshall. That’s been my standard until this album [Use Your Illusion I & II.]

When you were coming up, did you see many hot players in L.A.?

I couldn't afford good enough concert seats to pick up anything from watching guys perform. But for some reason, when I listened, I understood how to go about it.

Eddie Van Halen was the only one who might have thrown me for a loop, but I never tried to emulate him, because I always thought that style was his.

It really bummed me out when everybody ripped off his whole trip.

Did you have any formal instruction?

One teacher, Robert Wollan – a great guy who had a lot to do with me getting into guitar – pointed me in the right direction.

As all music teachers are supposed to do, he started me reading music and playing “Mary Had a Little Lamb.” It was so boring!

But Robert played the shit out of the guitar – he’s still one of the most amazing players I’ve ever met. I’d bring in records and he’d play “Stairway to Heaven” note for note.

It really pissed me off, because I’d sit there with this bullshit Mel Bay. Finally, I quit and spent a lot of time teaching myself. I worked full-time to support my guitar habit and stayed up until god-knows-when practicing and learning.

My main thing was Jeff Beck at that time. I remember learning “’Cause We’ve Ended As Lovers” note for note, getting every subtlety.

There was Aerosmith, Ted Nugent, Cheap Trick and Zeppelin.

I sold my soul to the guitar. If I quit playing now, I’d have no future.

Browse the Guns N' Roses catalog here.

Get tour info here.

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 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.

“Out of the hits that I’ve had, I can’t underestimate its importance,” Peter Frampton says of “Do You Feel Like We Do.” Originally released as a six-minute studio cut on the guitarist’s second solo album, 1973’s Frampton’s Camel, the song became an instant classic thanks to the epic 14-minute version on his epochal 1976 live album, Frampton Comes Alive!

“That’s the version that helped break things wide open,” he says. “It sort of worked as the trailer for both the album and my concerts. ‘You want to know what Peter Frampton sounds like live? Listen to this!’”

"Woke up this morning..."

In preparation for Frampton’s Camel, Frampton assembled a band consisting of keyboardist Mick Gallagher, bassist Rick Wills and drummer John Siomos. “We did a lot of jamming back then,” he recalls. “We were a new band, and jamming was our way of figuring out our sound.”

One day, the guitarist came to rehearsal with his reel-to-reel tape machine, on which he’d recorded chord ideas and a melody for a new song. “I didn’t have much else to it,” he says. “We jammed a bit, and at one point somebody said, ‘Wind the tape back to three or four minutes in. You played a line that’s really cool.’ “That line turned out to be what I then used for the main hook riff. Then Mick started to play harmonies of the line on the keyboard.”

Stuck for a chorus, Frampton improvised what he considered to be a dummy lyric: “Do you feel like I do?” “It didn’t sound right, so I told the guys, ‘Don’t worry. I’ll come up with something better,’” he says. “Of course, I never did.”

After coming up with an A-to-E chord pattern for the verse, he wrote lyrics that summed up how he felt after a night of overindulgence: “Woke up this morning with a wine glass in my hand.” “They came right out,” he explains, “and they’re probably the most iconic lyrics I’ve ever written.”

Something's happening...

The band previewed the song at a few shows before recording it at New York City’s Electric Lady Studios. Frampton used his now famous 1954 Les Paul Custom electric guitar that he paired with a late-’50s Ampeg Echo Twin ampifier.

“That amp wasn’t designed for distortion, but it broke up beautifully and gave me a great sound,” he says. Getting the song on tape was relatively straightforward, but the band recorded two versions: one slower, one faster. “We thought the slower one was best, so that wound up on the album.”

Nobody in the guitarist’s camp or at his label thought the song was a hit. “It was a good FM deep track, and it got some play in various spots of the U.S.,” Frampton remembers. But over the next two years, during which time he released two more studio albums – 1974’s Somethin’s Happening and 1975’s Frampton – “Do You Feel Like We Do” began to stand out as an audience favorite.

“We closed the show with it, and we really started to draw it out and play with its dynamics,” he says. “The crowds seemed to love it more and more.” Adding to the excitement was his introduction of a talk box during one of the extended solo sections.

He first used the effects unit for the studio recording of “Show Me the Way,” but during his 1975 concerts he fully embraced the device. “People went nuts when I went to use the talk box,” Frampton says. “Hey, everybody needs a gimmick, and this was mine.”

Frampton is everywhere...

The release of Frampton Comes Alive! was a seismic cultural moment, and within months of the record’s appearance, Frampton went from playing theaters to selling out arenas. The double album sold in the millions, his posters adorned millions of teenagers’ bedrooms, and his presence on both AM and FM stations was a lock.

“I was everywhere,” he recalls. “It got to the point where I was sick of myself. I’d turn on the radio and hear myself. I’d change the station and land on myself again.”

Over the course of his career, Frampton never played a gig that didn’t include “Do You Feel Like We Do.”

“It’s my show closer, the ultimate capper to a concert,” he says. “What was really remarkable was when I would play with Lynyrd Skynyrd, I’d play ‘Do You Feel’ and they’d play ‘Free Bird,’ so you’d get the two longest FM songs in one night.”

Check out the awesome Gibson Custom Shop Peter Frampton "Phenix" Les Paul Custom at Guitar Center here.

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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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.

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.