Gibson USA introduces the Limited Run 2011 Firebird Studio Non-Reverse, an electric guitar with all the eye-catching style and flair of the original 1965-69 non-reverse-bodied Firebird III, enhanced w... Click To Read More About This Product
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Gibson USA introduces the Limited Run 2011 Firebird Studio Non-Reverse, an electric guitar with all the eye-catching style and flair of the original 1965-69 non-reverse-bodied Firebird III, enhanced with added sonic versatility to bolster its vintage-certified tones. Crafted from Grade-A tonewoods, loaded with three of Gibson's amazing new Tapped P-90 pickups (for both original fat P-90 tones and brighter, snappier "narrow single-coil" tones), and upgraded with stunning new five-way pickup switching, push-pull tap and phase switching, and a Tune-O-Matic bridge with stopbar tailpiece.
Mahogany has a long and storied history as a Gibson tonewood, and it forms the core of the Firebird Studio Non-Reverse from Gibson USA. The guitar's body is crafted from solid Grade-A mahogany, and dressed in an authentic high-gloss nitrocellulose finish in Vintage Sunburst. Its quarter-sawn, Grade-A mahogany neck is carved to an ultra thin (.800-.850) profile, glued in, and topped with a Grade-A rosewood fingerboard with 22 medium-jumbo frets and a 12" radius for smooth, choke-free bending. Beyond the PLEK-cut Corian nut, it carries a traditional "hawk's head" six-in-line headstock with high-quality Mini Grover kidney button tuners, while down at the body end a Tune-O-Matic bridge and stopbar tailpiece”considerable upgrades from original components”help to ensure optimum resonance and sustain, while facilitating pinpoint intonation adjustments.
With such a solid foundation beneath it, the piece de resistance of the Firebird Studio Non-Reverse's tonal arsenal lies in its complement of three great new Gibson pickups and hotrodded electronics to make the most of their sonic potential. A trio of Gibson USA's revolutionary new Tapped P-90 pickups provides all the fat snarl, crunch and bite that vintage P-90s are known for, with the option of a the brighter, twangier sound of a thinner single-coil pickup accessed via the push-pull switch on each pickup's independent volume control. They don't feature "split coil" switching, as used on humbucking pickups. The switch on each of these single-coil Tap P-90 pickups accesses a genuine tap wired into the coil windings of each unit, grounding off part of its output to produce a brighter, more focused tone when the switch is pulled. Combine this with the push-pull switch on the master tone pot, which puts the middle pickup out of phase when combined with either the bridge or neck unit, and five-way switching to access bridge/bridge+middle/middle/neck+middle/neck pickup selections (either tapped or full), the Firebird Studio offers an unprecedented tonal range.
Each guitar includes a Gibson hardshell case and owner's manual, and is covered by Gibson's Limited Lifetime Warranty and 24/7/365 Customer Service. Check out the Firebird Studio Non-Reverse today at your authorized Gibson dealer, and grab a slab of authentic '60s-inspired tone, with sky's-the-limit modern versatility.
Solid grade-A mahogany body
High-gloss Vintage Sunburst nitrocellulose finish
Ultra thin (.800-.850) neck profile
Grade-A rosewood fingerboard with 22 medium-jumbo frets and a 12" radius
Three revolutionary coil-tapped P-90 pickups
Legendary Tune-O-matic bridge and stopbar tailpiece
High-quality Mini Grover kidney button tuners
PLEK-cut Corian nut
Reviewed by 1 customer
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Firebirds are one of my fave Gibson models as they offer perhaps the best of both the Fender & Gibson worlds - I've always wanted a Strat sound / pickup configuration with a Gibson style neck and this piece offers that, even more than the original Firebirds, and at a decent price. Looks great too. I tried one out at G.C. and it plays and sounds great. I'd buy one in a second, but, BUT, what was Gibson thinking with the positioning of the 5-way pickup selector switch??? What a shame - this is a total deal-breaker. The switch is right in the path of your right hand when strumming! You can avoid bumping into the switch if you only strum down by the bridge, but who would accept that limitation? This is maybe the dumbest oversight I've ever seen on any guitar design, and on a Gibson no less, and its all the more maddening when you consider the otherwise outstanding package and good value Gibson put together here. Major disappointment
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