SALES
SALES
TRAINING
TRAINING
GUIDE
GUIDE
FEATURES
FACTS
ADVANTAGES
WELCOME TO GIBSON USA’S
SALES TRAINING GUIDE, A POCKET
“FIELD GUIDE” TO GIBSON
SOLIDBODY ELECTRIC GUITARS
TABLE OF CONTENTS
Highlights of Gibson history………………………….2
WOOD
The nature of wood…………………………………...3
Why Gibson dries wood……………………………….5
Moisture Equilibrium chart………………………….. 6
PICKUPS
Output chart………………………………………….. 7
Pickups by guitar model…………………………….. 8
GIBSON ADVANTAGES
Performance…………………………………………...9
Manufacturing………………………………………...11
FINISHES……………………………………………..13
12 SELLING POINTS……………………………..
1
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15
TIMELINE
1894 Orville Gibson of Kalamazoo, MI, invents the archtop
guitar and mandolin
1902 The Gibson company is formed.
1935 Gibson’s first electric model, the E-150 Hawaiian
lap steel
1946 The P-90 single-coil pickup debuts
1952 Gibson’s first solidbody electric, the Les Paul Model
1954 Les Paul Custom “Black Beauty” and Les Paul Junior
officially introduced
1954 Tune-o-matic bridge, designed by Gibson president
Ted McCarty, introduced on Les Paul Custom
1955 Les Paul Special introduced
1957 Double-coil “humbucking” pickup debuts, invented
by Gibson’s Seth Lover
1958 First cherry sunburst finish on Les Paul Model,
name changed to Les Paul Standard
1958 Explorer, Flying V, and Moderne introduced,
designed by Ted McCarty
1959 Les Paul Special gets double-cutaway body
1961 Les Paul line changes to SG body shape
1963 SG model name is official, Les Paul name is dropped
1963 Firebird guitars and Thunderbird basses introduced
1968 Les Paul Standard and Custom reintroduced
1974 Gibson opens a plant in Nashville to make Les Pauls
1982 First solidbody acoustic, the Gibson Chet Atkins CE
1983 Les Paul Studio introduced
1984 Gibson closes Kalamazoo plant, moves headquarters
to Nashville
1986 Current owners Henry Juszkiewicz and Dave Berryman
acquire Gibson
1990 Les Paul Classic introduced
1996 BluesHawk introduced
1996 SmartWood Les Paul, first production model with
certified wood, introduced
1998 Les Paul Standard DC (double-cutaway) introduced
2002 Gibson develops world’s first digital guitar
2005 Les Paul celebrates 90th birthday, Les Paul Digital
model goes into production
2
THE NATURE OF WOOD
Since prehistoric times, man has used the
beauty and economic value of wood in commerce
and art, for shelter and furnishings. But wood
evolved as a functional tissue of trees, the
largest and noblest members of the plant
kingdom, rather than as a material designed to
satisfy the needs of woodworkers. Whatever
qualities or shortcomings wood possesses are
traceable to the tree from which it came.
GROWTH RINGS – The temperate climate in
most parts of the United States has an annual
cycle that includes a growing and a dormant
season. In most trees, the nature of wood cell
formation follows the same cycle, resulting in
visible growth layers.
3
SAPWOOD AND HEARTWOOD – In small
saplings, the entire wood portion of the stem is
involved in sap conduction upward in the tree.
As these “sapwood” cells
cease to conduct and
some of the cells die,
they become heartwood.
In the transition to
heartwood, material
called extractives begin
to form in the cell wall.
SOFTWOOD TREES – Pines, spruces, firs,
hemlocks and cedars, characterized by needlelike or scale-like foliage (usually evergreen)
and a main stem with lateral side branching.
HARDWOOD TREES – Classified as angiosperms.
In the U.S., hardwood trees are deciduous,
dropping their leaves in the fall.
FIGURE – The distinctive or characteristic
markings on longitudinal or side-grain surfaces
can result from particular anatomical features or
various abnormalities. The orientation of the
surface in the cutting process also affects
figuration.
4
WATER AND WOOD – Wood picks up and keeps
water easily. Growing trees contain a great deal
of water. One board-foot of freshly cut red oak
has about 1.1 quarts of water, but in a typical
interior room, it will give off water until it
contains only 0.1 quart of water.
SHRINKAGE AND SWELLING – Wood changes
dimension when it looses water. From fresh-cut
to dry condition, a piece of wood will lose about
10% of its volume. A board-foot becomes 0.9
board-feet.
STRENGTH – Below 30% moisture content,
wood becomes denser and compact as it dries
and its fibers become stronger and stiffer.
Wood at 12% has almost twice the bending
and compression strength as green wood.
WHY WE DRY WOOD
• Control shrinkage and swelling
• Reduce weight
• Improve machinability
• Reduce degrade
• Reduce decay and insect attack
• Improve glue adherence
• Improve finishing properties
• Improve strength
5
“We dry wood to below 7% moisture content,”
as some guitarmakers claim, is a meaningless
statement. Wood should be dried to a level of
“equilibrium” – where it neither gains nor loses
moisture content – and that level depends on
the temperature and humidity of the facility.
GREEN – At Gibson USA, we maintain humidity at
45%. At a temperature of 70 degrees, wood reaches
YELLOW – “We dry below 7%.” If “below 7%” gets
the equilibrium level at 8.5% moisture content.
down to 6.5%, then this guitarmaker needs to
keep his plant at 35% humidity with a temperature
humidity level of 25%, needs to dry wood even
RED – A guitar maker in a dry climate, with a
of 100 degrees.
farther – below 6% – to reach equilibrium.
30˚ F 40˚ F 50˚ F 60˚ F 70˚ F 80˚ F 90˚ F 100˚ F 110˚ F 120˚ F
EQUILIBRIUM MOISTURE CONTENT TABLE
1.1˚ C 4.4˚ C 10.0˚ C 15.5˚ C 21.1˚ C 26.6˚ C 32.2˚ C 37.7˚ C 43.3˚ C 48.8˚ C
5% 1.4 1.4 1.4 1.3 1.3 1.3 1.2 1.2 1.1 1.1
10% 2.6 2.6 2.6 2.5 2.5 2.4 2.3 2.3 2.2 2.1
15% 3.7 3.7 3.7 3.6 3.5 3.5 3.4 3.3 3.2 3
20% 4.6 4.6 4.6 4.6 4.5 4.4 4.3 4.2 4 3.9
25% 5.5 5.5 5.5 5.4 5.4 5.3 5.1 5 4.9 4.7
30% 6.3 6.3 6.3 6.2 6.2 6.1 5.9 5.8 5.6 5.4
35% 7.1 7.1 7.1 7 6.9 6.8 6.7 6.5 6.3 6.1
40% 7.9 7.9 7.9 7.8 7.7 7.6 7.4 7.2 7 6.8
45% 8.7 8.7 8.7 8.6 8.5 8.3 8.1 7.9 7.7 7.5
50% 9.5 9.5 9.5 9.4 9.2 9.1 8.9 8.7 8.4 8.2
55% 10.4 10.4 10.3 10.2 10.1 9.9 9.7 9.5 9.2 8.9
60% 11.3 11.3 11.2 11.1 11 10.8 10.5 10.3 10 9.7
65% 12.4 12.3 12.3 12.1 12 11.7 11.5 11.2 11 10.6
70% 13.5 13.5 13.4 13.3 13.1 12.9 12.6 12.3 12 11.7
75% 14.9 14.9 14.8 14.6 14.4 14.2 13.9 13.6 13.2 12.9
80% 16.5 16.5 16.4 16.2 16 15.7 15.4 15.1 14.7 14.4
85% 18.5 18.5 18.4 18.2 17.9 17.7 17.3 17 16.6 16.2
90% 21 21 20.9 20.7 20.5 20.2 19.8 19.5 19.1 18.6
95% 24.3 24.3 24.3 24.1 23.9 23.6 23.3 22.9 22.4 22
98% 26.9 26.9 26.9 26.8 26.6 26.3 26 25.6 25.2 24.7
RH (RH= RELATIVE HUMIDITY %)
6
GIBSON PICKUPS
Gibson pickups have not only set the standard
for the guitar industry since 1935, they have
dramatically influenced the evolution of popular
music from the warm jazz tones of Charlie
Christian to the pioneering rock sound of Scotty
Moore with Elvis to the crunching modern rock
of Jimmy Page.
PICKUPS MAGNET DESCRIPTION
490R Alnico II warm, full sound, boosts upper mid-range
498T Alnico V (hotter), enhances midrange and highs
496R Ceramic hotter sound
500T Ceramic USA’s highest output
’57 Classic Alnico II vintage specs, matched bobbin windings
BurstBucker Pro Alnico V based on BurstBuckers, with unmatched
490T/490R Alnico II in both positions, for warm, smooth tone
P-90 Super Vintage Alnico V powerful vintage single-coil tone
Standard Gibson pickup configuration,
perfect for rock.
For “edgier” models, such as X-Factors
and LP Classic.
Like the name says, for classic models: SG
Standard, Angus Young, and SG Supreme.
bobbin windings but with Alnico V
magnets for hotter output
Developed specifically for the Les Paul
Standard, enhances the vintage edge of the
BurstBuckers.
Featured on SG Faded and SG Special.
Featured on LP Melody Maker, LP Faded
Double-Cut, LP Junior.
RELATIVE OUTPUT
’BURSTBUCKER PRO (NECK)
’BURSTBUCKER PRO (BRIDGE)
’BURSTBUCKER TYPE 1
’BURSTBUCKER TYPE 2
’BURSTBUCKER TYPE 3
’57 CLASSIC
’57 CLASSIC PLUS
TONY IOMMI
ANGUS YOUNG
DIRTY FINGERS
490R
490T
498T
500T
496R
MINI HUMBUCKER
P-90
P-94R
P-94T
7
MODEL PICKUP
LES PAUL
Classic
Classic DC
Digital
Faded Double Cutaway 2 vintage P-90 single-coils
Faded Single Cutaway BurstBucker Pr
Junior Special Plus 490R/498T Alnico humbuckers
Melody Maker Vintage P-90 single-coil
Special w/ Humbuckers 490R/498T Alnico humbuckers
Standard - all single-cuts BurstBucker Pro set (Alnico V)
Standard DC Plus 490R/498T Alnico humbuckers
Studio – all 490R/498T Alnico humbuckers
Supreme 490R/498T Alnico humbuckers
X-FACTOR
Firebird V, VII ceramic mini-humbuckers
Firebird Studio 496R/500T ceramic humbuckers
Flying V – all X-Plorer
SG
’61 Reissue 2 ’57 Classic humbuckers
Angus Young Signature ’57 Classic humbucker (neck), Angus Signature
Special –all 490R/490T Alnico humbuckers
Standard 490R/498T Alnico humbuckers
Supreme 2 ’57 Classic humbuckers
CHET ATKINS
Chet Atkins SST piezo bridge transducer
AMERICANA
Pioneer Cutaway Gibson hex piezo bridge transducer
Ranger
HAWK
Blueshawk 2 Blues 90 single-coils, hum-canceling dummy coil
BASS
Thunderbird 2 TB Plus ceramic humbuckers
Les Paul Basses
Continental V 2 Seymour Duncan Bassline humbuckers
SG Reissue Bass Vintage-style TB Plus bass humbucker (neck)/bass
496R/500T ceramic humbuckers
490R/498T Alnico humbuckers OR 2 vintage
P-90s single-coils
Hex, BurstBucker Pro set (Alnico V)
o set (Alnico V) zebra coils
humbucker (bridge)
mini-humbucker
8
GIBSON ADVANTAGES
Advantages are organized by feature.
Under each feature are the facts or
specs of that feature, designated by
Under each fact, designated by
is the advantage to the player.
H.
AD,
FEATURE
H Fact
AD Advantage
PICKUPS
H Gibson invented the double-coil humbucking
pickup
AD Still setting the standard followed by other
makers
H Many choices of magnets and coil-winding
configurations
AD Smooth to edgy tone, and everything in between
H 2-wire or 4-wire
AD Vintage wiring or modern (with coil-split
capability)
H Tight fit between polepieces and hand-
machined baseplate
AD No lost vibrations, minimizes feedback
9
24.75" SCALE
H Less string tension required to tune up
AD Smooth, slinky feel
H Allows for heavier-gauge strings
AD Beefier tone
H Frets spaced slightly closer together
AD Easier to do the Chuck Berry rhythm part
(on E chord)
TUNE-O-MATIC BRIDGE
INVENTED BY LEGENDARY GIBSON PRESIDENT
TED MCCARTY IN 1954
H Adjustable saddles
AD Fine-tune intonation for each individual string,
for any string gauge or action height
H Overall height-adjustable
AD Easy adjustment to raise or lower action
AD No individual string adjustment necessary to
conform to fingerboard radius
H Industry standard
AD Copied by other makers, never equaled
STOPBAR TAILPIECE
INVENTED BY GIBSON IN 1953
H Seperate from bridge-allowing height
adjustment
AD Adjust downward to increase string pressure
on saddles = less slippage
AD Adjust upward for less string pressure =
“slinky” or “spongy” feel when bending strings
more sustain
,
10
SET NECK
(EXCEPT “NECK-THRU” FIREBIRD MODELS)
H Glued neck joint – not bolted or screwed –
for maximum contact between neck and body
AD Neck and body function as single unit = better
tone, better sustain
H No air space in neck cavity
AD No loose or misaligned neck = no “shimmy” or
tuning problems
ANGLED HEADSTOCK
H Strings cross nut at an angle of up to
17 degrees, increasing string pressure
AD No loss of vibration of strings between nut and
tuners = better sustain
AD Strings stay in nut slots (no buzz)
AD No need for “string trees” or “string guides” to
compensate for bad headstock design
11
BINDING
VERY LABOR INTENSIVE, BUT MAKES
A GUITAR LOOK BETTER. AND…
H Protects edges
AD Fewer dings in areas most susceptible to
damage
H Neck binding installed over fret ends (most
makers install frets after binding, exposing
fret ends)
AD Smooth neck, no cut hands
LACQUER FINISH
NITROCELLULOSE LACQUER (MULTIPLE COATS
ON MOST MODELS) INSTEAD OF POLYURETHANE
USED BY MOST GUITAR MANUFACTURERS, USED
BY GIBSON ON ALL MODELS SINCE 1894
H Repairable
AD Scratches and dings can be touched up. A poly
finish can NOT be touched up.
H Porous nature
AD Does not “seal” wood in an airtight shell as poly
does, lets wood breathe = better tone
H Dries to a thinner coat than poly
AD Less interference with natural vibration of
instrument = purer tone
EQUILIBRIUM MOISTURE CONTENT
H Wood is dried to a point of “equilibrium”–
determined by the temperature and humidity
of the factory – where the moisture content
does not change during the manufacturing
process
AD Tight-fitting joints, no expansion, shrinkage or
warping
H All wood has same moisture content
AD After leaving plant, guitar responds evenly to
temperature and humidity changes
12
GIBSON USA COLOR CHART
ry Alpine White Black Antique Natural
Aged Cher
Classic White Desert Burst Ebony Emerald Burst
Heritage Cherry Honey Burst Iced Tea Latte Creme
Natural Burst Natural Satin Pacific Reef Pewter Metallic
Santa Fee Sunrise Satin Cherry Satin Ebony Satin Yellow
Vintage Sunburst Wine Red Worn Brown Worn Ebony
13
ry Blue Mist Cayenne Chicago Blue
Black Cher
Fire Burst Gecko Gold Top Heritage Cherry
Light Burst Midnight Manhattan Midnight Natural
Sunburst
Platinum Red Metallic Root Beer Saddle Brown
Sunrise Orange Trans Amber Trans Black Trans Red
Worn Cherry Worn Yellow Cherry Tobacco Burst
14
THE 12 SELLING POINTS OF A
GIBSON ELECTRIC SOLIDBODY GUITAR
1. 24 3/4" scale for easier play
2. Highest quality materials
3. High-quality lacquer finish
4. Set neck
5. Angled headstock
6. Limited Lifetime Warranty
7. Pride of ownership
8. Hand-sanded neck
9. Most recorded guitar in history
10. High quality Gibson-made pickups
11. Hand-bound
12. Excellent setup adjustability
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