User manual AEG-ELECTROLUX GIBSON GIBSON USA RETAIL SALES GUIDE

[. . . ] TIMELINE 1894 Orville Gibson of Kalamazoo, MI, invents the archtop guitar and mandolin 1902 The Gibson company formed 1921 Gibson invents the adjustable truss rod ­ still the industry standard ­ and the height adjustable bridge 1935 Gibson's first electric model, the E-150 Hawaiian lap steel 1936 First standard Gibson electric, the ES-150 ("ES" stands for Electric Spanish) 1939 First cutaway Gibsons ­ Super 400 Premier and L-5 Premier 1946 The P-90 single-coil pickup debuts 1949 First three-pickup guitar, the Gibson ES-5 1949 First guitar with a "Florentine" pointed cutaway, the Gibson ES-175 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 1958 First semi-hollowbody electric guitar, the ES-335, invented 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 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 1984 Gibson closes Kalamazoo plant, moves headquarters to Nashville 1986 Current owners Henry Juszkiewicz and Dave Berryman acquire Gibson 2002 Gibson introduces world's first digital guitar A RETAIL SALES GUIDE FOR FEATURES FACTS ADVANTAGES ELECTRIC GIBSON GUITARS SOLIDBODY WELCOME TO GIBSON USA'S RETAIL SALES GUIDE, A QUICK AND CONCISE REFERENCE OF SALES TIPS. Sales tips are organized by feature. [. . . ] AND. . . 5 Protects edges AD Fewer dings in areas most susceptible to damage 5 No air space in neck cavity AD No loose or misaligned neck = no "shimmy" or tuning problems 5 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 5 Repairable AD Scratches and dings can be touched up. A poly finish can NOT be touched up. 5 Porous nature AD Does not "seal" wood in an airtight shell as poly does, lets wood breathe = better tone 5 Dries to a thinner coat than poly ANGLED HEADSTOCK 5 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 Less interference with natural vibration of instrument = purer tone EQUILIBRIUM MOISTURE CONTENT 5 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 AD Strings stay in nut slots (no buzz) AD No need for "string trees" or "string guides" to compensate for bad headstock design 5 All wood has same moisture content AD After leaving plant, guitar responds evenly to temperature and humidity changes PICKUPS RELATIVE OUTPUT MAGNET '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 PICKUPS Alnico II Alnico V ceramic ceramic Alnico V Alnico II Alnico II Alnico II Alnico V Alnico II cutting sound neck and bridge, like BB 1 and 2 with hotter magnet "unmatched" bobbin windings, same range as '57 Classic "unmatched" bobbin windings, slightly underwound vintage specs, matched bobbin windings high output super hot, USA's highest output hot sound, neck position classic design, hotter magnet classic design, upper-mid boost DESCRIPTION 490 498 496 500 Angus Young '57 Classic 'BurstBucker 1 'BurstBucker 2 'BurstBucker Pro Mini humbucker EQUILIBRIUM MOISTURE CONTENT TABLE 40° F 4. 4° C 50° F 10. 0° C 60° F 15. 5° C 70° F 21. 1° C 80° F 26. 6° C 90° F 32. 2° C 100° F 37. 7° C 110° F 43. 3° C 120° F 48. 8° C 30° F 1. 1° C "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 the equilibrium level at 8. 5% moisture content. Any lower or higher, and the wood will not be stable. [. . . ] RED ­ A guitar maker in a dry climate, with a humidity level of 25%, needs to dry wood even farther ­ below 6% ­ to reach equilibrium. 1. 2 2. 3 3. 3 4. 2 5 5. 8 6. 5 7. 2 7. 9 8. 7 9. 5 10. 3 11. 2 12. 3 13. 6 15. 1 17 19. 5 22. 9 25. 6 1. 1 2. 2 3. 2 4 4. 9 5. 6 6. 3 7 7. 7 8. 4 9. 2 10 11 12 13. 2 14. 7 16. 6 19. 1 22. 4 25. 2 1. 1 2. 1 3 3. 9 4. 7 5. 4 6. 1 6. 8 7. 5 8. 2 8. 9 9. 7 10. 6 11. 7 12. 9 14. 4 16. 2 18. 6 22 24. 7 5% 10% 15% 20% 25% 30% 35% 40% 45% 50% 55% 60% 65% 70% 75% 80% 85% 90% 95% 98% RH 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 4 11. 3 12. 4 13. 5 14. 9 16. 5 18. 5 21 24. 3 26. 9 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 4 11. 3 12. 3 13. 5 14. 9 16. 5 18. 5 21 24. 3 26. 9 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 3 11. 2 12. 3 13. 4 14. 8 16. 4 18. 4 20. 9 24. 3 26. 9 1. 3 1. 3 1. 3 1. 2 2. 5 2. 5 2. 4 2. 3 3. 6 3. 5 3. 5 3. 4 4. 6 4. 5 4. 4 4. 3 5. 4 5. 4 5. 3 5. 1 6. 2 6. 2 6. 1 5. 9 7 6. 9 6. 8 6. 7 7. 8 7. 7 7. 6 7. 4 8. 6 8. 5 8. 3 8. 1 9. 4 9. 2 9. 1 8. 9 10. 2 10. 1 9. 9 9. 7 11. 1 11 10. 8 10. 5 12. 1 12 11. 7 11. 5 13. 3 13. 1 12. 9 12. 6 14. 6 14. 4 14. 2 13. 9 16. 2 16 15. 7 15. 4 18. 2 17. 9 17. 7 17. 3 20. 7 20. 5 20. 2 19. 8 24. 1 23. 9 23. 6 23. 3 26. 8 26. 6 26. 3 26 ( R H = R E L AT I V E H U M I D I T Y % ) [. . . ]