AEG-Electrolux GIBSON MEMPHIS User Manual

OWNER’S MANUAL

©2003 Gibson Guitar Corp.

To the new Gibson owner:

Congratulations on the purchase of your new Gibson electric
guitar – the world’s most famous electric guitar from the leader of
fretted instruments.

Please take a few minutes to acquaint yourself with the
information in this booklet regarding materials, electronics, “how
to,” care, maintenance and more about your guitar.

And then begin enjoying a lifetime of music with your new Gibson.

The Components of a Hollow or Semi-hallowbody Guitar 4
Gibson Innovations 6
The History of Gibson Electric Guitars 8

Care and Maintenance

Finish 21
Your Guitar on the Road 21
Things to Avoid 22
Strings 23
Install your Strings Correctly 24
String Gauge 25
Brand of Strings 25

Design and Construction

Body 14
Neck and Headstock 14
Pickups 15
Controls 17
Bridge 19
Tailpiece 20

TABLE OF CONTENTS

Strap

Button

Hinged

Tailpiece

Bridge

THE COMPONENTS

OF THE

ELECTRIC GUITAR

Featuring an ES-175

in Antique Natural

12th Fret

Marker/Inlay

Neck

Fret

Nut Headstock

Fingerboard

Tuning

Key

Machine

Head

Truss Rod

Cover

Pickguard

Lead or Bridge

Pickups

Body

Bridge Pickups

Tone and

Volume

Input Jack

Three-way

Toggle Switch

Binding

4

Rhythm or

Neck Pickup

Neck Pickups

Tone and

Volume

THE COMPONENTS

OF THE

ELECTRIC GUITAR

Featuring an ES-345

in Faded Red

5

Stopbar

Tailpiece

Tune-o-matic

Bridge

12th Fret

Marker/Inlay

Neck

Fret

Nut Headstock

Fingerboard

Tuning

Key

Machine

Head

Truss Rod

Cover

Pickguard

Pickups

Body

Tone

Controls

Strap

Button

Binding

Volume

Controls

Varitone

Mono

Jacks

Stereo

Jacks

Here are just a few of the Gibson innovations that
have reshaped the guitar world:

1894 – First archtop guitar

1922 – First ƒ- hole archtop, the L-5

1936 – First professional quality electric guitar,the ES-150

1947 – P-90 single-coil pickup introduced

1948 – First dual-pickup Gibson, the ES-300

1949 – First three-pickup guitar,the ES-5

1949 – First hollowbody electric with pointed cutaway, the ES-175
1952 – First Gibson solidbody guitar,the Les Paul

1955 – First thinline hollowbody,the ES-225T

1957 – First humbucking pickup

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1958 – Flying V and Explorer introduced

1958 – First semi-hollowbody guitar,the ES-335

1961 – SG body style introduced

1963 – Firebird guitars and Thunderbird basses introduced

1973 – Les Paul Signature with low-impedance pickups introduced

1979 – ES-Ar tist with active electronics introduced

1981 – ES-335 DOT reissue introduced

1982 – First solidbody acoustic , the Chet Atkins CE

1999 – Gibson ES-Series production moves to Memphis

2002 – Gibson Digital Electric Guitar introduced

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A BRIEF HISTORY OF GIBSON ELECTRIC GUITARS

Gibson’s legendar y acoustic engineer, Lloyd Loar, was experimenting with electric
instruments in 1924, at the dawn of electronic amplification. However, Gibson’s
struggle to dominate the banjo market took precedence through the 1920s,and it
wasn’t until the mid-1930s that the company once again turned its attention to
electric guitars.In 1935, Gibson’s Walt Fuller designed a pickup that was introduced
on the E-150, an aluminum-body lap steel. Early in 1936, the pickup was put in a
midline archtop model and named the ES-150 – ES for Electric Spanish,150 for the
retail price of $150 for the guitar and amplifier set.

The original ES-150 bar pickup with its hexagonal housing is now known as the
“Charlie Christian” pickup,because it was installed on the ES-150s and ES-250s that
Christian used to establish the new concept of electric jazz guitar.

Gibson made several improvements in pickup design before World War II, although
many play ers still consider the “Christian” pickup to be the best jazz pickup ever made.

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Immediately after World War II, Gibson introduced the P-90 single-coil, with six
adjustable polepieces and a black plastic cover, usually with “dog-ear” mounting
extensions.The P-90 is still in production and still sets the industry standard for a
single-coil pickup.

The first postwar Gibson electrics followed the prewar concept of an electric guitar
as a conventional acoustic archtop with a pickup installed on the top. Gibson added
a second pickup to the ES-300 in 1948 and then became the first company to offer
a three-pickup model with the introduction of the ES-5 in 1949.

Although the advantages of a solidbody guitar had been exploited by Hawaiian steel
guitarists for almost twenty years, it took the persuasive powers of Les Paul, the
world’s most famous guitarist in the early 1950s, to convince Gibson to make a
“Spanish style” solidbody. Gibson designed the new model with a carved top, not
only to give it the look of a traditional archtop – a style invented by Gibson – but

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also to make it difficult for other makers to copy. Les, who had been playing a
homemade solidbody guitar, nicknamed The Log, since 1941, specified a maple top
cap to increase sustain,coupled with a mahogany back to lighten the weight.Les also
specified the famous “goldtop” finish.

The Les Paul Model debuted in 1952.The bridge and tailpiece were upgraded when
Gibson introduced the patented tune-o-matic bridge in 1954,and the original single­coil pickups were upgraded with the introduction of Gibson’s patented humbuckers
in 1957. Otherwise , the original Les Paul is essentially the same guitar today as it
was when it was introduced.

As the Les Paul Model expanded to a line of four distinct models (and eventually to
over 100),Gibson pushed ahead with more innovations for the electric guitar. Gibson
engineer Seth Lover developed and patented a double-coil pickup that eliminated the
“hum” or electrical interference caused by rheostats and florescent lights.Introduced

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in 1957, this powerful new “humbucking” pickup would shape the sound of rock and
roll music in the 1960s.

In 1958, Gibson introduced more important design innovations than in any other
year in the company’s history.Gibson president Ted McCar ty combined the look of
an ƒ-hole archtop with the performance of a solidbody and came up with a
completely new type of guitar – the semi-hollowbody ES-335.McCarty also designed
two radically modern solidbody shapes: the Flying V and Explorer. The body of the
Les Paul Jr. received a pair of rounded horns to become Gibson’s first double­cutaway solidbody. And the finish color on the Les Paul Model was changed to
Cherry Sunburst, which let the grain of the maple top show through. The model
name was changed to Les Paul Standard, and the sunburst Standards from 1958-60
would become some of the most valuable collectibles in the guitar world.All of this
happened in 1958.

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Only the semi-hollowbody ES -335 was immediately successful.The traditional look
of an arched top with ƒ- holes balanced nicely with the contemporary styling of the
thinbody, double -cutaway design. Under the top, however, the ES-335 had a solid
block of maple extending the length of the body, which eliminated the feedback of
conventional hollowbody electrics and gave the 335 the sustaining performance of
a solidbody guitar.

The ES-335’s versatility appealed across the board, to pop,rock and blues guitarists,
and by the end of 1958, Gibson introduced a fancier, gold-plated semi-hollowbody,
the ES-355. A year later, with the appearance of the midline ES-345, the 355 was
upgraded with stereo electronics and a Varitone – a five-position tone control.

Beginning in the 1960s, Gibson’s hollow and semi-hollow lines feature signature
models from such influential and popular musicians as Johnny Smith,Barney Kessel,
Tal Farlow,Trini Lopez and Les Paul.

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In the 1980s, bluesmaster B.B. King and “Mr.Guitar” Chet Atkins joined the list of
signature artists.

In 1999 Gibson opened the Beale St. Showcase, a multi-purpose facility in Memphis
that includes manufacturing facilities for all of Gibson’s regular-production
hollowbody and semi-hollowbody electric models, plus a performance venue,
museum,a retail shop,catering service and factor y tours. For more information visit
gibsonmemphis.com.

As Gibson celebrated the 50th anniversary of the Les Paul in 2002, the company
rocked the guitar world once again by introducing the first digital electric guitar.It
represents the biggest advance in electric guitar design since the instrument was
invented,and moreover,it serves notice that Gibson electric guitars will continue to
epitomize the highest levels of Quality, Prestige and Innovation.

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DESIGN AND CONSTR UCTION
Body. Gibson’s ES-Series guitars have top, back and rims of a maple-poplar-maple laminate.The

three-ply construction allows for traditional arched shaping of the top and back and makes for
a lighter body without sacrificing strength. Traditional models, such as the ES-175, have a fully
hollow body.The ES-335 style double-cutaway models have a solid maple centerblock between
the top and back. The single-cutaway semi-hollowbodies,such as the ES-135 and ES-137 have a
solid mahogany centerblock.These different designs and materials result in subtle differences in
resonance and sustain.

Neck and headstock.Gibson uses both mahogany and maple necks on ES-Series models.The

historic ES-175 and ES-335 styles have a traditional mahogany neck.Newer models,such as the
ES-135,ES-137, Chet Atkins Country Gentleman and Tennessean, and the B.B. King Lucille, have
a maple neck.The denser maple neck enhances sustain and brightness of tone. Fingerboards are
of ebony or rosewood.

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Neck Specifications.

Width of fingerboard at nut

Chet Atkins Countr y Gentleman and Tennessean:1 3/4"
All other models: 1 11/16"

Frets

Chet Atkins Countr y Gentleman: 21
ES-175, Herb Ellis ES-165: 20
All other models: 22

Scale length

Chet Atkins Countr y Gentleman and Tennessean,B.B. King "Little Lucille": 25 1/2"
All other models: 24 3/4"

Pickups. Humbucking (double-coil): Most Gibsons have double-coil humbucking pickups, which

were designed to do what their name says:“buck” the hum caused by florescent lights,rheostats
and other electrical interference. They accomplish this with two coils of wire, wound in
opposite directions so that they cancel out interference.In addition, they produce a powerful

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sound that is the foundation of rock and roll music.Gibson produces humbuckers in a variety
of subtle variations, achieved by the use of different magnets and different combinations of
winding turns.In addition,some models have humbuck ers without the metal co v er pieces,which
results in a hotter signal. For individual model and humbucking pickup specs, please refer to
Gibson’s website , www.gibson.com.

P-90 (single-coil): Only a few Gibsons are fitted with single-coil P-90 pickups. Some have the

original “dog-eared” covers; those without the "dog ears" are nicknamed “soapbar” because the
cream-colored covers on the 1952 Les Paul Model resembled bars of soap.When the P-90 was
was introduced in 1946,it was the most powerful pickup of its kind.And it still is.The B.B.King
“Little Lucille” has specially designed P-90s called Blues 90 pickups,along with a dummy pickup
coil to give it humbucking functionality. Among the many examples of the P-90 sound are Scotty
Moore’s ES-295 on Elvis Presley’s first recordings and Tracy Chapman’s ES-125T on “Give Me
One Reason.”

Pickup adjustments. Although the pickups on each guitar are set to Gibson standards at the

factory,they can be adjusted.The height of the pickup can be adjusted by the two screws found

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at either end of the pickup,in the mounting ring. Individual string volume can be adjusted by
turning the polepiece screws.Bringing the pickup or pole screw closer to the strings makes the
signal stronger or “hotter.”

Controls. The standard Gibson electronic configuration is two pickups, four knobs and a

pickup selector switch. The four knobs provide individual tone and volume control for each
pickup.Models with only three knobs provide individual volume and master tone control. Single
pickup models have only two knobs – for volume and tone control – and no pickup selector.

Volume controls: The two knobs closest to the fingerboard control volume . The volume knob

nearest the bridge controls the “rhythm” or neck pickup; the knob nearest the edge of the
guitar controls the “lead” or bridge pickup.

Tone controls: The knob or knobs far thest away from the fingerboard control tone. The tone

knob nearest the bridge controls the “rhythm” or neck pickup; the knob nearest the edge of
the guitar controls the “lead” or bridge pickup.

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The tone controls are the “treble roll off ” or “cut” variety. The tonal quality of the instrument
is darkened by the reduction of treble rather than the addition of bass. The tone control turned
all the way counterclockwise results in maximum reduction of treble and produces the
“darkest” sound. The tone control turned clockwise to its maximum position allows the
pickup’s full harmonic frequencies to pass through, producing the guitar’s brightest sound.

Pickup selector switch: The selector switch has three positions. The position toward the neck

selects only the “front” or neck pickup.The position toward the bridge of the guitar selects only
the “back” or bridge pickup.The middle position engages both pickups. The tone and volume
controls will only be active when the corresponding pickup is selected. On models with three
pickups, the selector switch activates the front pickup (front position), the middle and back
pickup together (middle position), and the back pickup (back position).

Varitone:

The rotary Varitone control is a progressive mid-range filter. The original Varitone,
introduced in 1959 on the ES-355,had five settings and was always engaged.Today’s Varitone has
an additional setting to bypass the control altogether.Setting 1 is the bypass.Setting 2 reduces the
mid-range tone slightly. It is reduced more at setting 3 and so on to the maximum at setting 6.

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Stereo: Some models have two jacks, for Mono or Stereo signal. For normal play, use a standard

guitar cord from the Mono jack.For stereo output,a “Y cord” is required.The Y-cord plugs into the
Stereo jack and splits the signal into two channels, with one pickup per channel, which can be
connected to two different amplifiers.Note:Plugging two separate cords into the Mono and Stereo
jacks will not result in stereo output.

The Tune-o-matic Bridge.The Tune-o-matic bridge allows for adjustment in overall bridge

height and individual string length. Height is adjustable up and down by means of thumb nuts
under the bridge at either end. Each string saddle is adjustable forward and back with a small
standard screwdriver. Action adjustment (up and down) is set at the factor y to the correct
height for playing comfort and for buzz-free action.Raising the bridge will r esult in stiff er action;
lowering the bridge will result in faster action but may also result in fret buzz. Climatic or
humidity changes, or changes in string gauge, may necessitate a bridge adjustment.

Any change – in bridge height, string gauge or climate – can affect the intonation and cause a
guitar to play out of tune in some fret positions.When this happens,the string length needs to
be adjusted,and this is accomplished by moving the individual saddles forward (toward the neck)

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or backward (toward the tailpiece). The screw heads are on the pickup side of the bridge,
although there are many Gibsons that have the screw heads facing the tailpiece. To check
intonation,compare the pitch of a string that is fretted at the 12th fret against the harmonic at
the 12th fret (accomplished by touching the string lightly with the left hand,without pressing it
all the way to the fret). If the fretted note is higher than the harmonic, the string should be
lengthened by moving the saddle toward the tailpiece until the two notes are the same . If the
fretted note is lower than the harmonic the string length should be increased.

The tune-o-matic bridge was designed to adjust for string changes (gauge or type) and other
physical changes but not for problems with intonation due to string wear.Should a string lose its
intonation due to wear, we strongly recommend changing the string and not the bridge setting.

Tailpiece.

Most Gibson Memphis models are fitted with a stopbar tailpiece that is mounted into
the top of the guitar. It may be adjusted up or down to change the down pressure across the
bridge. There is usually no need to adjust the stopbar unless the strings are moving out of the
saddles,in which case the stopbar should be lowered. A few models are fitted with a vintage-style
hinged or “trapeze” tailpiece that extends to the strap button area of the rim and is not adjustable.

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Finish. A Gibson instrument always attracts attention,whether it is on a concert stage before

thousands or on a guitar stand in a home studio. Next to the classic body lines of a Gibson,
the finish makes the strongest impression.

Perspiration acids,heavy fingerprinting,dust and grime from on-the-job usage are unavoidable.
However, a minute or two spent with Gibson’s instrument care products – polish, fretboard
conditioners, string cleaner/lubricant and polishing cloth – will restore a finish to like-new
condition.

Gibson’s nitro- cellulose lacquer finish is also easily repairable – by a professional – so that
minor scratches and dings can be fixed without completely refinishing the instrument.

Keeping your guitar on the road. Your Gibson is a durable instrument.It is likely to outlive

you – if you take care of it. In determining what conditions might be harmful to your guitar,
the rule of thumb is, if you are comfortable, then your guitar will be comfortable . Here are
some conditions to avoid:

CARE AND MAINTENANCE

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Heat and cold: Gibson’s nitrocellulose finish can expand or contract to adjust to extreme

temperatures but not to sudden changes in temperature or humidity. Just as a hot drink will
crack a chilled glass,the finish of a Gibson will crack if a guitar that has been sitting in the trunk
of a car in wintertime is suddenly exposed to the warm air of a heated room.In these conditions,
let the guitar warm up gradually inside the case before opening the case.

Humidity: Sudden changes in humidity, caused by leaving your guitar next to a source of dry heat, for

example, can also cause uneven expansion or contraction of the wood, resulting in finish cracks.

Note: Gibson's warranty does not cover finish damage.

Rain: Water wipes off the instrument’s finish easily, but if allowed to remain, it can cause ugly water spots

in the lacquer.

Sun: Avoid direct rays of the sun on your Gibson. Direct sunlight can blister or discolor the finish.

More things to avoid.Guitar stands with black rubber supports can leave a black stain on

your guitar that goes through the lacquer finish and into the wood.These stains are permanent.
Use a guitar stand with natural-colored rubber whenever possible.If you do use a stand with
black rubber, do not leave the guitar on the stand for extended lengths of time.

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When using a shoulder strap for a standing playing position,check that all contact points and
strap fasteners are secure.

Avoid sharp blows to any part of your instrument.Be particularly alert to possible blows to
the back of the peghead, machine head (tuners) and in the neck heel area.

Should major adjustments become necessary,contact your local authorized Gibson dealer or
service center.

Strings. Fresh strings are a vital part of that “new instrument” sound. When strings begin to

go dead,a guitar loses its edge, and as the strings undergo fur ther wear and tear they begin to
sound dull and out of tune. Your Gibson will sound its best with new strings.

How often should you change strings? That depends on how much you play your guitar, how
hard you play and also on your individual body chemistr y.Some professional musicians change
strings before every show in order to maintain the sharpest edge on their sound.More casual

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players may only need to change strings every month or two. For some players, even light
perspiration shortens the life of their strings. The sound of the strings is the only sure way to
judge whether or not they need to be changed. And if one string needs to be changed, the
others can’t be far behind.To maintain tonal balance , change the whole set.

Use high quality strings. The most obvious action you can take to maximize the life and

performance of your strings is to use high quality strings.Your Gibson comes from the factory
with a set of strings made by Gibson and designed exclusively for Gibsons. Although the string
set from the Gibson factory is suitable for virtually any style of music. Gibson offers a variety
of string styles and gauges for specialized purposes.

Install your strings correctly. Improperly installed strings can slip, which will cause your

Gibson to constantly go out of tune. To correctly install strings:

1. Be certain the first winding of the string around the machine head stem (tuner post) goes

over the exposed tip of the new string.The rest of the winding should then go under the

24

exposed tip of the new string. When pressure is applied by tightening the string to pitch, a
clamping action keeps the string from slipping around the machine head stem.

2. Be certain the string is wrapped around the machine head stem an adequate number of

times. For unwound strings, at least five turns around the machine head stem are necessary.
For wound strings,two or three turns are adequate.

What gauge strings should be used? Your guitar is strung at the factory with “10’s” – which means

the high-E string is .010 inches in diameter. The low-E is .046 inches in diameter. The set is
designed so that all six strings have the same amount of tension,ensuring that the action and
the volume will be consistent across the entire fingerboard. Gibson offers “9’s”, “11’s” and a
variety of other string gauges and compositions,all of which are balanced for consistent tension.

What brand of strings should be used? Gibson has been making its own strings since 1907, and

Gibson has more experience than any other string maker when it comes to matching strings
to Gibson guitars. Gibson strings are manufactured to exacting standards to achieve the
highest level of quality and performance.

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A LIFETIME OF MUSIC

Your Gibson electric guitar is a lifetime investment. With
proper care, it will not only maintain its value as a top­quality instrument, it will also continue to pay musical
dividends for generations to come.

Your investment in the world’s finest electric guitar is
supported by the #1 Customer Service team in the musical
instrument industry. To contact a Gibson Customer
Service Representative call 1.800.4GIBSON or email us at
[e-mail].

For more information on Gibson products and accessories,
please visit www.gibson.com or call 1.800.4GIBSON.

145 Lt. George W. Lee Ave. Memphis, TN 38103

USA 1.800.4GIBSON www.gibson.com