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PostPosted: Thu Feb 15, 2018 2:28 pm 

I've been a Gibson fanboy all my guitar playing life (being left-handed doesn't make this cheap or easy) but I think the company as a whole has rested far too long on their laurels and are scrambling for safe haven now.

https://www.musicradar.com/news/gibson- ... ial-expert


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PostPosted: Thu Feb 15, 2018 2:46 pm 

Nowadays, 99% of Gibsons are shite. Utter, utter shite. Massively overpriced, wildly unpredictable QC, fucking Richlite fretboards on Customs, endless "slash" models, that fucking stupid robot tuning thing.... The wild fluctuations in their QC are simply unacceptable given the proces. I've seen £3000 LP's with sharp fret ends and bubbles in the binding and/or paint.

I would not, under any circumstances, buy a brand new gibson these days. And for the record, I own an LP Custom that i bought brand new.


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PostPosted: Thu Feb 15, 2018 2:47 pm 

They’re screwed and justifiably so. Their guitars are massively overpriced with regular build quality issues. Fender is in a lot of trouble too, they are also in huge debt, but Gibson's deadlines are closer. Both companies have gotten an easy ride because of the brand legacies they respectively bought but less kids are taking up guitar, the market is massively over-saturated and a new Fender or Gibson will never be perceived as being cooler than an old one.


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PostPosted: Thu Feb 15, 2018 4:05 pm 

My 2011 SG special and 2013 Les Paul are savage, I have played a few models from last year, and yes, total muck. They had a melody maker in a shop across the Ha’penny bridge recently and it played and looked like a hundred bucks guitar. They will come back surely as it’s an iconic brand in fairness.


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PostPosted: Thu Feb 15, 2018 4:24 pm 

Juggz wrote:
They’re screwed and justifiably so.... the market is massively over-saturated and a new Fender or Gibson will never be perceived as being cooler than an old one.


Nutshell.
Far better value (and technical specs) out there for hard earned, tax-payed-on money today. I own a LP Studio for 20 years and love it - but rarely play it as my LTDs are superior.


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PostPosted: Thu Feb 15, 2018 4:40 pm 

What did you think of the Star Trek V then?


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PostPosted: Thu Feb 15, 2018 4:53 pm 

Its interesting that Epiphone seems to be the go to brand for artists that want a signature Gibson and read an interview with Brent Hinds on how he went to Epiphone over Gibson because of how much better they are to deal with. Anyone know how closely the 2 are managed?

Also hated that Star Trck v when Jackson did it nearly 20 years ago. Having said that they brought a PRS style double cut away last year that looked pretty nice.


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PostPosted: Thu Feb 15, 2018 5:01 pm 

Andy82 wrote:
Its interesting that Epiphone seems to be the go to brand for artists that want a signature Gibson and read an interview with Brent Hinds on how he went to Epiphone over Gibson because of how much better they are to deal with. Anyone know how closely the 2 are managed?


Matt Heafy from Trivium and Tommy Thayer did the same thing, for the same reason.

Bill Kelliher signed with Gibson and the (top end, very expensive, signature prototype) he got form them resulted in him immediately sacking them off and going with ESP/Ltd - he'd asked for a solid-body and it was chambered. It came with standard pickups in it rather than his signature ones, and set up for and tuned to standard.


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PostPosted: Thu Feb 15, 2018 5:32 pm 

I loved Gibson until the neck on my LP Studio kept fucking breaking, ultimately resulting in the headstock coming clean off a few weeks ago. Admittedly I'm clumsy as fuck but those guitars aren't made to take abuse in the way they need to be. I've never actually broken the neck on a guitar before and lord knows I've tried.

Funnily enough I had a couple of Epiphones in my younger years which got terrible batterings and survived intact.

I'll be replacing it with something else.


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PostPosted: Thu Feb 15, 2018 5:43 pm 

Writing has been on the wall for YEARS with Gibson. They've had major QC issues for over a decade and have been making increasingly poor decisions on everything.

Apparently the CEO is a sexist control freak who micro manages the whole company. There was a few big PR disasters over the last few years where he came across terribly.

I've major gas for a classy looking white SG. Not too picky about any specific hardware or anything, just an SG standard or similar(not special) in white. They don't make one. But they have about a dozen random other SG models with weird woods, colours and hardware.


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PostPosted: Thu Feb 15, 2018 6:58 pm 

I recently bought a new Gibson Les Paul, I knew what I was getting into before i bought it and was very apprehensive to play the Gibson Lottery. I went for one of the high performance models as it was marked down by nearly a grand. Robot tuners, titanium nut and a plethora of configurable options via dip switches on the main board. Looked amazing and played fantastically. However, the robot tuners (latest versions) were an utter fucking shambles, completly unpredictable and totally unuesable live. Addtionally when in tune according to the robot tuners, the guitar was flat compared to any other tuner used. The titanium nut caused buzzing everywhere, despite many adjustments. The only options were to get a replacement or start modding the Guitar, so I went with a replacement. Second one was worse in every regard so I gave up and returned it for a refund. How Gibson arrived at this spec is beyond me, on paper it looks great, but in person it is a total shambles. For a 2k Guitar, Gibson are way beyond taking the piss.

I ended up getting a 2nd hand traditional classic gold top 2017 model and it is the opposite, holds its tuning, sounds great and no real issues, although I am getting the nut replaced. So they are capable of making a good Guitar, albeit, inconsistently. My experience buying new is similar to thousands of others, hence their current reputation. Instead of pissing millions away in R+D on options noone wants, having some level of QC should have been their priority. PRS can manage it, why can't Gibson.


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PostPosted: Fri Feb 16, 2018 1:29 am 

Leather Mike wrote:

Bill Kelliher signed with Gibson and the (top end, very expensive, signature prototype) he got form them resulted in him immediately sacking them off and going with ESP/Ltd - he'd asked for a solid-body and it was chambered. It came with standard pickups in it rather than his signature ones, and set up for and tuned to standard.



I remember reading that around the time there was some follow up with James Hetfield about how they couldn't organise a Les Paul signature series, mind boggling stuff.

same goes for not offering 1984 explorer reissues and letting epiphone instead. how have they calculated their target market?

also the irony of that new modern V is staggering. but even that mirrors the bizzaro world they live in where they stopped esp/krammer et al. making explorers and the Hetfield related non-pickguard explorer, but then don't make them themselves.

oh wait, they did do a natural finish non-pickguard explorer, but look where they randomly stuck the jack input...

Image

also, their current €5k custom line has drawn the ire of many with the inclusion of non-ebony fretboards, using a composite material instead.

also again, Slash has a new signature model, you know the one, a classic guitar always associated with Slash, a firebird.


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PostPosted: Fri Feb 16, 2018 9:41 am 

Saw that their new flying v is going for $4500. Do they really think people are going to spend that much given their current reputation? Especially considering that for that type of money you could nearly get a fully custom guitar set up exactly how you like it


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PostPosted: Fri Feb 16, 2018 9:49 am 

Gibson's design philosophy is baffling. They either shoehorn new technology into 60 year old designs, trying to keep the aesthetic as old looking as possible, or they create ugly new shapes and put the same two humbuckers and the same stoptail bridge into it. You think what hole does this fill or what new requirement is it fulfilling? Why would someone buy it other than the kudos associated with the name on the headstock?

Fender are equally baffling. The company which revolutionised the instrument are now nothing more than a tribute act to the past they bought, repackaging the same sold parts in ever-so-slightly different configurations and giving it a name - American Vintage, American Professional, Pawn Shop, whatever, they're a fucking joke. I reckon they come up with new instruments in the same way the FA draw numbered balls out of a bag for the FA Cup.

"Number 24 - that's a stratocaster neck
Number 15 - that's a telecaster body
Number 4 - ooooh, Jazzmaster pickups
Number 18 - it's a Bigsby bridge!

Intern, draw it up, let's see what it looks like! We could call it the Vintage American Vintage Jazzocaster of America!
"

Or another pointless signature model, a regular strat with a slightly different shade of white paint. Wonderful.

What is the fucking point? Just guitars no-one really needs which don't fill a hole already filled by something the original Fender company did in the middle of the last century. They make lines of reissues, too, which are aesthetically close to the original year they're emulating, but intentionally not really that close. They need to keep slightly wide of the mark so they can repackage it again in a few years when sales of that model drop off. Then they can say "Now with authentic reverse tuners!" to try to hoodwink people once again. The worst bit is that they're not only in competition with every other contemporary guitar maker, they're also in competition with the original Fender guitars they're pretending to emulate. They're past the point where the original Vintage Reissue series from the early 80's are now desireable in their own right as vintage instruments, having passed the magic 30-year barrier. It feels like a dead-end, as far as business models go.

They have hunderds of millions tied up in the Guitar Center chain, which is itself teetering on the brink of financial oblivion and, if it goes, FMIC will find it hard to survive. They are already struggling as it is.

Contrast that to the likes of ESP, PRS or Ibanez, who reinvent their lines every year or two, keep things fresh, offer new innovations and features, continually trying to improve and refine their line. You hear people saying what Fender and Gibson do is what is expected of them, that no-one wants innovation from them, but do you seriously think if Fender offered a Strat with a graphtec nut and locking tuners and stayed in tune when you hit the vibrato hard that people would shun it? Or if Gibson just put better non-fucking-robot tuners on a well-made Les Paul with a neck volute so the head wouldn't break off so easily, that people would turn their back on it? Bollocks.


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PostPosted: Fri Feb 16, 2018 10:10 am 

if6was9 wrote:
I've major gas for a classy looking white SG. Not too picky about any specific hardware or anything, just an SG standard or similar(not special) in white. They don't make one. But they have about a dozen random other SG models with weird woods, colours and hardware.


Yeah they do. Some Neck in Dublin currently have one;

https://www.someneckguitars.com/product ... ition-2009



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