Brand New Guitars Price: GIBSON

Gibson-ES-339 Exclusive

MSPR-$2,960

Body

Top	Laminated Maple
Body Type	Semi-Hollow, Chambered
Back	Laminated Maple
Binding	Single-ply, Cream

Pickups

Neck Position	'57 Classic
Bridge Position	'57 Classic
Magnet Material	Neck: Alnico II, Bridge: Alnico II

Bridge

Type	Tune-o-matic (ABR)
Material	Zinc Surrounded by a die casting alloy
Plating	Nickel

Gibson- Firebird X

MSRP- $5,570

Features

Very light, ultra comfortable and fast playing physical guitar
A turbo-charged Pure-Analog™ Digital Signal Processing (DSP) engine with Goldtone FX™
Controlled by intuitive new guitar controls and wireless pedal controllers
A full package of Guitar Rig 4 and Gibson Ableton 8 Live software
Applications environment and store for 3rd party developers

Controls:

Volume Control	Chrome/knurled
Tone Control	Momentary switch, Black Chrome/knurled
Pickup Switch	5-way pickup selector
Gear Shift™ Knob	11 position rotary knob
Effects Faders	(Blue) Modulation / Echo / Reverb
	(Red) Compression / Distortion / EQ
Tog-Pots	3 position with wet/dry blend
	(Blue) Modulation / Reverb / Echoplex
	(Red) Compression / Distortion / EQ
	(Silver) Pickup programming / Piezo / Tuning

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Gibson-Les Paul Standard 2010 Limited

MSRP-$6108

Electronics

Master-Control-Knob (MCK)	Full Color LED Control Center for Dialing-in Multiple Tunings, Sound and Pickup Coil Selection.
Potentiometers	Lead and Rhythm Volume
Type	300k Linear
Coil Wiring	Machine Wound
Peak Voltage	750v
Range	0-300k
Frequency Curve	User-definable
Active Gain Stage	LP-Z High Defination Impedance Circuit
Jack Plate	Chrome LP-Z

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Les Paul Studio

MSRP- $1,799

Body

Top	Maple
Back	Mahogany
Body Type	Chambered Weight Relief
Adhesive	Franklin Titebond 50

Bridge

Type	Nashville Tune-O-Matic
Material	Zamak
Plating	Chrome

Electronics

Potentiometers	2 Volume Controls, 2 Tone Controls
Type	300k Linear Volume, 500k Non-linear Tone
Coil Wiring	Machine Wound
Toggle Switch	Three-way Switchcraft with Black Plastic Tip
Output Jack	Traditional 1/4"

Tuners

Model	Vintage Tuners with Perloid Buttons
Plating	Nickel
Tuning Ratio	14:1

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SG '61 Reissue

MSRP- $3,299

Features

The Gibson Logo
Angled Headstock
Adjustable Truss Rod
’60s Slim-Taper Neck Profile
22-Fret Rosewood Fingerboard
Nickel and Silver Alloy Fret Wire
Trapezoid Inlays
Set-Neck Construction
Solid Mahogany Body
TWO ’57 Classic Pickups
Tune-O-Matic Bridge
Nitrocellulose Finish

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SG Gothic Morte

MSRP-$1,599

Features

Solid Mahogany body with Satin Ebony finish
Exotic African Obeche fingerboard
Comfortable, rounded neck profile
Pair of Gibson USA GEM active humbucking pickups
Black Grover tuners with 14:1 tuning ratio

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Les Paul Supreme

MSRP-$5,190

Features

AAAA Figured Maple Top and Back
50's Rounded Neck Profile
Ornate Earth Inlay made from Abalone and Brass on Headstock
Gibson's 490R and 498T Pickups
Grover Keystone Tuners

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Les Paul Gothic Morte

MSRP-$1,899

Body

Top	Maple
Back	Mahogany
Adhesive	Franklin Titebond 50

Bridge

Type	Tune-O-Matic
Material	Zamak
Plating	Black Nickel

Neck

Species	Mahogany
Profile	50's Style
Truss Rod	Traditional Adjustable
Joint Angle	5° (+/- 15 seconds)
Adhesive	Franklin Titebond 50

Pickups

Neck Position	"GEM" Gibson Active
Bridge Position	"GEM" Gibson Active
Magnet Material	Enamel

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Gibson USA Anniversary Flood Les Paul Studio

MSRP-$2,389

Body

Top	Maple
Back	Mahogany
Body Type	Traditional Weight Relief
Adhesive	Franklin Titebond 50

Pickups

Neck Position	490R (Alnico II )
Bridge Position	498T (Alnico V)

Bridge

Type	Nashville Tune-O-Matic
Material	Zamak
Plating	Chrome

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Robot Flying V

MSRP-$3,749

Features

The Gibson Logo
Angled Headstock The pointed headstock on the Robot Flying V is as typical as it is unique. Like every Gibson headstock, it is carved out of the same piece of mahogany as the neck. It is not a “glued-on” headstock, and the process takes craftsmanship, time, and effort. But the rewards are worth the effort. The headstock is carefully angled at 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain. A white truss rod cover adds a nice finishing touch to the headstock.
Angled Headstock
Adjustable Truss Rod The adjustable truss rod is a Gibson innovation that revolutionized the guitar. Before this ground-breaking discovery in the early 1930s, the truss rod was used only to strengthen and stabilize the neck. By making it adjustable, the truss rod now allows a guitar to be set up using a variety of string gauges, as well as string heights. This easily accommodates any style of playing, and allows a limitless range of set-up options. And by placing it at the base of the headstock, the adjustable nut is easily accessible, even while the strings are still on the guitar.
Adjustable Truss Rod
The Robot Flying V Neck Profile No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional ’50s neck profile is the thicker, more rounded contour, emulating the neck shapes of Gibson’s iconic models of the late 1950s. The ’60s neck profile is considered the more modern, slim-tapered contour most commonly associated with the Gibson models of the early 1960s. The neck on Gibson’s Robot Flying V has the best of both worlds—it is a hybrid between the ’50s rounded contour and the ’60s slim-taper profile. As with all Gibson necks, it is machined in Gibson’s rough mill using wood shapers to make the initial cuts. Once the fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.
The Robot Flying V Neck Profile
22-Fret Ebony Fingerboard Ebony has always graced the fingerboards of the world’s finest stringed instruments, including the revolutionary Gibson Robot Flying V. The fingerboard on this pioneering guitar is constructed from the highest grade ebony on the planet, which is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the factory. The resilience of this dense and durable wood makes each fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates “dead” or “choked out” notes, common occurrences on fingerboards with lesser radiuses.
22-Fret Ebony Fingerboard
Nickel and Silver Alloy Fret Wire The fret wire on all Gibson models is a combination nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) specifically designed for long life and superior wear. Gibson’s traditional “medium/jumbo” fret wire is first shaped by hand, then cut to an exact 12-inch radius. After hand pressing it into the fingerboard, a machine press finishes the job to eliminate the gap between the bottom of the fret wire and the fingerboard.
Nickel and Silver Alloy Fret Wire
Trapezoid Inlays The classic trapezoid inlays are one of the most distinguishable features of many traditional Gibson models, including the Robot Flying V from Gibson USA. A figured, swirl acrylic gives these inlays that classic “pearl” look. They are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers.
Trapezoid Inlays
Set-Neck Construction Like all classic Gibson guitars, the necks on the Robot Flying Vs are distinguished by one of the more traditional features that have always set them apart—a glued neck joint. Gluing the neck to the body of the guitar insures a “wood-to-wood” contact, no air space in the neck cavity, and maximum contact between the neck and body, allowing the neck and body to function as a single unit. The result? Better tone, better sustain, and no loose or misaligned necks.
Set-Neck Construction
Solid Mahogany Body The most central of all Robot Flying V features is its V-shaped, solid mahogany body. Whether it’s the regular Flying V, or the Gibson Robot Flying V, the solid mahogany body provides tone, sustain, and performance. The mahogany goes through the same rigorous selection process as all of Gibson’s woods, and is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This insures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and helps control the shrinkage and warping of the woods, in addition to helping reduce the weight. It also helps with improving the woods’ machinability and finishing properties. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Solid Mahogany Body
Gibson’s 496R and 500T Pickups - Uncovered No event is more responsible for dramatically influencing the evolution of popular music than Gibson’s introduction of the double-coil “humbucking” pickup in 1955. From the warm jazz tones of Charlie Christian, to the world-shaking rockabilly of Scotty Moore, and the cruching rock of Jimmy Page, countless players around the world explored the limitless possibilities of the tonal spectrum through Gibson pickups and guitars. As the musical landscape changed, so did the development of the humbucker pickup. Introduced in the early 1970s, Gibson’s 496R and 500T pickups filled the need for more powerful humbuckers and energized the emergence of hard rock and heavy metal. The 496R produces incredible sustain and cutting power with its ceramic magnet, adding more highs with increased definition and no muddiness at all. The 500T is one of Gibson’s most powerful pickups, containing a three ceramic magnet structure, which enables a no-holds-barred rock and roll crunch that never loses its rich combination of enhanced lows and crystal clear highs. This is one of Gibson’s most potent pickup combinations. As with all Gibson pickups, every part is precisely manufactured at Gibson USA in Nashville, Tennessee, insuring tight, seamless fittings, and superior workmanship.
Gibson’s 496R and 500T Pickups - Uncovered
Central Processing Unit (CPU) On the back of the Robot Flying V headstock, between the Robot Tuners™, is where you’ll find the Neck CPU. This genius little device is responsible for receiving and processing the data signal from each individual string and feeding it to the Robot Tuners™, which then tunes the guitar. Small in stature, yes, but central to the operation of this innovative self-tuning robotic system.
Central Processing Unit (CPU)
Custom Red Metallic Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson guitar—including the custom Red Metallic finish on the Robot Flying V—is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell—as a poly finish does—and allows the wood to breathe and age properly.
Custom Red Metallic Nitrocellulose Finish
Controls At the heart of Gibson’s revolutionary Robot Flying V are its ground-breaking controls. At first glance, the two control knobs seem to be indistinguishable from those on any other Flying V. But look again. The Multi-Control Knob (MCK)—the one with the illuminated top—serves as the master control for all aspects of the Robot Flying V’s amazing, self-tuning system. The MCK is what is commonly referred to as a “push-pull” knob. When in the normal position (down), it behaves as a regular volume or tone pot. When the MCK is pulled out, the Robot Flying V’s radically new self-tuning system is activated and ready for use. It immediately places the Robot Flying V in standard tuning mode (A440). A quick turn of the MCK presents six factory presets, all of which can be customized. At any time, you can also restore the tunings to the factory presets and start all over again. The LED display on top of the MCK also lets you know when a string is out of tune, or when all strings are in tune, and even when the tuners are turning to get them in tune. It even guides the setting of accurate intonation. At the end of the tuning process, the blue lights on top of the MCK flash. Push the MCK back in and it’s ready to go. The only thing you have to do is play.
Controls
Robot Tuners™ not setGibson’s revolutionary Robot Flying V is unique in many ways, but the “robot-like” Robot Tuners™ that grace the headstock are extraordinary. Pull out the Robot Flying V’s Multi-Control Knob (MCK) and watch the Robot Tuners™ spring into action. It takes only a few seconds for the Robot Tuners™ to tune the Robot Flying V to any desired tuning. Each tuning peg is equipped with a tiny, but powerful, servo motor that kicks into action once the system is activated. The Robot Tuners™ rely on the strings themselves to send the signals, eliminating any potential for interference. Made of lightweight metal with a satin nickel finish, the Robot Tuners™ weigh only 46.5 grams each. A standard Gotoh tuner weighs in at 49 grams. That means a set of Robot Tuners™ weigh a full 15 grams less than a set of Gotoh tuners, which is another indicator of the Robot Flying V’s true innovation.
Robot Tuners™
Charging System At the core of the Robot Flying V’s pioneering technology is a lithium rechargeable battery system, which takes about 90 minutes to generate a full charge that keeps the innovative self-tuning robotic system going for approximately 200 tunings. Included with the Robot Flying V is a power adaptor that plugs into any standard power outlet. Take any quarter-inch guitar cable and plug one end into the adaptor, and the other end into the Robot Flying V. In approximately 90 minutes, the Robot Flying V is ready to go. Use the shortest guitar cable you can find, because the shorter the cable, the less time it takes. You can always check the status of the system’s charge by turning the MCK knob to the C position. The LED display will give you a value between 1-10, with one being the lowest charge, and 10 being the highest.
Charging System
Tune-Control Bridge and Data Transmitting Tailpiece The revolutionary Robot Flying V sports a new and unique, highly specialized Tune Control Bridge which acts as one of the main components of the amazing self-tuning robotic system. The new Tune-Control Bridge is a modified Tune-o-matic that measures the individual tuning of each string via special saddles. The signal from each string is then transmitted to the control CPU in the control panel, which then transfers the signal to the Neck CPU and the Robot Tuners™, which, in turn, tune the strings. At first glance, the tailpiece on Gibson’s ground-breaking Robot Flying V looks like a normal tailpiece. But look a little closer and you’ll see that it’s far from ordinary. Gibson’s new Data Transmitting Tailpiece is a hub of activity. First, each string is separated by ceramic insulators that isolate each individual string signal and avoids confusion as to which string is being processed and tuned. There are also special isolating inserts that keep the ball ends commonly found on electric guitars strings from making contact and disrupting signal flow. Underneath the tailpiece is a tiny circuit board that processes each individual signal to the ribbon cable, which is then transmitted to the on-board CPUs, which, in turn, tune the strings. Both pieces work with each other to help balance all the information being transmitted between the various points, and makes sure every string is in tune, making them the epitome of form and function in electric guitar bridge and tailpiece design.
Tune-Control Bridge and Data Transmitting Tailpiece

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Zakk Wylde Flying V Custom with Floyd Rose

MSRP-$7,056

Body and Hardware

A solid mahogany body and one-piece mahogany neck are graced with an ebony fingerboard with pearl block inlays. The classic V-shaped headstock carries Gibson’s classic Custom split-diamond inlay. While crafted for speed and fury, the Zakk Wylde Flying V With Floyd Rose naturally looks the part too wearing Zakk’s signature custom Bulls-Eye paint scheme.

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Tribal V

MSRP-$3,608

Features

The Gibson Logo
Angled Headstock with Tribal Art Design and Black Grover Kidney Tuners Just like every Gibson headstock, the headstock on the new Tribal V is carved out of the same piece of mahogany as the neck. The top of the headstock is then adorned with a distinct Tribal art design to form part of the Tribal V’s signature appearance. It is angled at Gibson’s customary 17 degrees, which allows increased pressure on the strings to keep them in place and enhance overall sustain. A set of black Grover kidney-shaped tuners compliment the headstock and its unique look.
Angled Headstock with Tribal Art Design and Black Grover Kidney Tuners
Adjustable Truss Rod Before Gibson’s ground-breaking discovery of the adjustable truss rod in the early 1930s, the truss rod was used only to strengthen and stabilize the neck. Making it adjustable meant that a guitar could now be set up using a variety of string gauges, as well as string heights, which could easily accommodate any style of playing, and allow a limitless range of set-up options. In addition, by placing it at the base of the headstock, the adjustable nut is easily accessible, even while the strings are still on the guitar.
Adjustable Truss Rod
The Tribal V Neck Profile Gibson has consistently produced some of the more distinguishable neck profiles ever employed on a guitar, and the neck on the new Tribal V is no exception. Just like the legendary Flying V, the neck on the Tribal V is a hybrid between Gibson’s traditional ’50s rounded profile, and the ’60s slim-taper profile. Just like the body, the back of the neck has a satin Cherry finish for an incredibly smooth playing feel. The neck is machined in Gibson’s rough mill using wood shapers to make the initial cuts. Once the fingerboard gets glued on, the rest — including the final sanding — is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.
The Tribal V Neck Profile
22-Fret Ebony Fingerboard Some of Gibson’s finest stringed instruments have been adorned with rosewood fingerboards, and the new Tribal V from Gibson USA is proud to join this exclusive list. This rosewood fingerboard is constructed from the highest grade rosewood on the planet, all of which is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. The resilience of this dense and durable wood makes each fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite.
22-Fret Ebony Fingerboard
Nickel and Silver Alloy Fret Wire All of the fret wire on Gibson guitars has been specially designed for long life and superior wear, which is achieved by using a special combination of nickel and silver alloy to form Gibson’s traditional “medium/jumbo” fret wire. It is first shaped by hand, then cut to an exact 12-inch radius. After hand pressing it into the fingerboard, a machine press finishes the job to eliminate any gap that may exist between the bottom of the fret wire and the fingerboard.
Nickel and Silver Alloy Fret Wire
Classic Dot Inlays The classic dot inlays are one of the most distinguishable features of many traditional Gibson models, including new Tribal V Limited Run Series guitars from Gibson USA. A figured, swirl acrylic gives these inlays that classic “pearl” look. They are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers.
Classic Dot Inlays
Set-Neck Construction Like the majority of its guitars, the neck on the new Tribal V features Gibson’s pioneering set-neck construction, which uses glue to attach the neck to the body of the guitar, creating a very solid instrument. This ensures a “wood-to-wood” contact, no air space in the neck cavity, and maximum contact between the neck and body, allowing the neck and body to function as a single unit. The result? Better tone, better sustain, and no loose or misaligned necks.
Set-Neck Construction
Solid Mahogany Body with Satin White Finish and Tribal Art Pattern Design Clearly the most identifiable part of the Tribal V is its V-shaped, solid mahogany body. On the new Tribal V, the body is also set in a Satin White finish with a distinct Tribal art pattern design to accent the guitar’s traditional lines, making it one of the most eye-catching Vs Gibson has ever made. The mahogany goes through the same rigorous selection process as all of Gibson’s woods, and is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This insures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and helps control the shrinkage and warping of the woods, in addition to helping reduce the weight. It also helps with improving the woods’ machinability and finishing properties. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Solid Mahogany Body with Satin White Finish and Tribal Art Pattern Design
Gibson’s 496R and 500T Pickups No event is more responsible for dramatically influencing the evolution of popular music than Gibson’s introduction of the double-coil “humbucking” pickup in 1955. From the warm jazz tones of Charlie Christian, to the world-shaking rockabilly of Scotty Moore, and the crunching rock of Jimmy Page, countless players around the world explored the limitless possibilities of the tonal spectrum through Gibson pickups and guitars. As the musical landscape changed, so did the development of the humbucker pickup. Introduced in the early 1970s, Gibson’s 496R and 500T pickups filled the need for more powerful humbuckers and energized the emergence of hard rock and heavy metal. The 496R produces incredible sustain and cutting power with its ceramic magnet, adding more highs with increased definition and no muddiness at all. The 500T is one of Gibson’s most powerful pickups, containing a three ceramic magnet structure, which enables a no-holds-barred rock and roll crunch that never loses its rich combination of enhanced lows and crystal clear highs. This is one of Gibson’s most potent pickup combinations.
Gibson’s 496R and 500T Pickups
Kahler 2215K Tremolo System in Black Chrome For those wanting the ultimate in tremolo systems, look no further than the Kahler 2215K from Kahler USA. This black chrome stud mount tremolo system features individual fine tuners, and a 360HH brass cam. It also has stainless steel saddles that can be adjusted six different ways: side to side for string spacing, front to back for intonation, and up and down to adjust action and match the radius of the fingerboard. The brass cam and stainless steel saddles also deliver enhanced sustain and harmonics and a warm, rich tone.
Kahler 2215K Tremolo System in Black Chrome
Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell—as a poly finish does—and allows the wood to breathe and age properly.
Nitrocellulose Finish
Electronics When it comes to guitar electronics, less is definitely better. And that certainly holds true with Gibson’s Tribal V. Gibson has chosen to install two volume controls and only one tone switch, which translates into less resistance between the pickup and the actual output. That means you end up with nothing but pure tone from the pickups, and one flat-out screaming rock and roll machine.
Electronics