![]() Although they might be the same type of wood, the species will be different, and sourcing will take place close to the factory’s location. Mahogany and maple being a case in point. Epiphone uses similar tonewoods to Gibson.So, because they build Epiphone guitars in China. You can expect strict human quality control at the end too. Sanding, installing the pickups, and many more processes along the production line are all done by hand. The skilled workforce at Gibson handcraft guitars with accuracy. The sophisticated machinery in the Nashville factory ensures woodcutting is consistent.Then, the woods go through careful drying techniques to ensure the wood is durable. Gibson only uses the finest tonewoods to create their instruments.So what makes Gibson build quality the envy of the guitar world? Here are some contributing factors that make their guitars so special: ![]() True to form, as Gibsons are American-built you can anticipate premium craftsmanship. In general, American guitars sit at the top of the pile. Guitar build quality and the country of manufacture go hand in hand. What are the standout differences? Let’s look at important things to consider. Nickel-plated: Kluson tuners with metal buttons fully adjustable four-saddle bridge stop tailpiece bridge and pickup covers.So now you have a bit of background information on each brand. Gold Gibson logo on black truss rod cover three-ply (w/b/w) pickguard with bevelled edge and Firebird emblem two metal cap/reflector knobs labelled Volume and Tone 1964 Gibson Thunderbird IIĪsymmetrical reverse design tuners on bass side raised middle section black/ natural finish Exotic-sounding enough, but the regular, less expensive sunburst finish proved to be the most popular choice by far.Īlas, the Thunderbirds were not deemed popular enough to remain in production beyond the 60s, and with sales dropping off towards the end of the decade manufacturing ceased in 1969. ![]() Taking inspiration from Fender, the finishes included Ember Red, Frost Blue, Polaris White, Cardinal Red, Heather, Pelham Blue, Golden Mist, Kerry Green, Silver Mist and Inverness Green. Pictured at Guitars: The Museum in Umeå, Sweden, this custom colour 1967 Gibson Thunderbird II is of the later non-reverse variety. As before, the II and IV were structurally identical – the main difference being pickups and electronics (the IV sported an extra volume knob as per its second pickup).įrom its inception back in ’63, one of the range’s main selling-points was Gibson’s all-new custom color chart, and these options extended into the latter half of the 60s. Regardless, the revamped Thunderbirds arrived that year featuring glued-in necks. It seems reasonable to presume that the Fullerton firm was distracted enough by its CBS takeover during 1965 not to interfere. Interestingly, however, the ‘non-reverse’ design that followed – a virtual mirror image of the reverse counterpart – appears much closer to the Fender offset with respect to body and headstock profile. ![]() What better way to return to the drawing board than with a bona fide automotive designer? Well, that was the thinking when Gibson hired Raymond Dietrich And with Fender claiming a patent infringement of its Jazzmaster body styling, Gibson was further prompted to overhaul the entire range. The reverse Thunderbirds, it seems, were doomed from the start. And while a laminated neck-through-body construction provides great stability and tone, reverse Thunderbirds are especially prone to headstock breaks (aka Firebird disease) – a problem exacerbated by the instruments’ heavy Kluson tuners. Indeed, Gibson still maintains the reverse ’Bird is one of the trickiest to produce. ![]()
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