Question: Do people hate Gibson so much that free guitars are no longer enough?

LIFESTYLE BRAND.

I suspect there will be excellent opportunities to synergize the paradigm on the socials as people with regrettable tattoos and even more regrettable haircuts hold iconic authentic instruments and demonstrate time-honored traditional “rocking out” maneuvers such as “ankle-height guitar strap” and “pointless backbend whilst hoisting an authentic single-cut guitar.” This is great news for car and beer commercials everywhere! So much new licensable audio content!
 
This quote put in Slash’s mouth is HILARIOUS.

“It's an honor to be the first release on the new Gibson Records,” says SLASH. “It's a zenith in our partnership for sure and having worked so closely with Gibson for so long, I know they will be a label that genuinely supports their artists creatively.”
 
It’s okay… the brand will slowly continue to lose market shares because the Gibson faithful won’t allow them to innovate or adapt without crying foul.

Meanwhile companies like PRS will make guitars that actually look and feel like vintage instruments but their fanbase wants tuners, nuts, bridges, and designs that stay in tune and have high quality control.

Maybe in the future it will shift enough that PRS will buy Gibson and it will become the PRS “vintage” brand and they’ll make Quality Controlled Les Pauls and flying Vs that stay in tune and will sound great.
 
Peen Simmons said:
This quote put in Slash’s mouth is HILARIOUS.

“It's an honor to be the first release on the new Gibson Records,” says SLASH. “It's a zenith in our partnership for sure and having worked so closely with Gibson for so long, I know they will be a label that genuinely supports their artists creatively.”
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That sounds exactly like what Slash would say.
 
baimun said:
It’s okay… the brand will slowly continue to lose market shares because the Gibson faithful won’t allow them to innovate or adapt without crying foul.

Meanwhile companies like PRS will make guitars that actually look and feel like vintage instruments but their fanbase wants tuners, nuts, bridges, and designs that stay in tune and have high quality control.
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Bingo.
 
MonkeyZero said:
It offers "the ultimate guitar experience". Well of course it does.
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The quotes in that page are just awesome for what seems like mostly retail location for gibson to sell t-shirts and key chains

"Beth (my wife) and I attended the grand opening of the Gibson Garage this week and WOW!" says Mike Voltz, Director of Research & Development (recently retired), a 36-year veteran employee of Gibson Brands. "In addition to being one of the finest retail experiences I have ever had, the Gibson Garage provides an amazing performance venue for artists and a great hang for the rest of us. The display of exceptional historical instruments brings true significance to all of the new guitars, amps, monitors and apparel for sale."

"With all of the growth in Nashville, there are sadly, very few places where artists can go anymore and feel a sense of community," says Meghan Linsey of the duo Meg + Tyler. "The energy in the Gibson Garage feels so good. It’s like a home base for creatives; a place where you want to be and play music."

"With this new space, Gibson has continued to create a community in Nashville that will keep the nickname 'Music City' strong for generations to come."


And of course don't forget this 'stunning' stuff you plebs will never see:

Watch as host Mark Agnesi and country artist Niko Moon take viewers on a tour of the Gibson Garage and show off the stunning, backstage artist lounge, which includes a secret vault containing historic guitars including a 1959 Les Paul, a 1958 Korina Flying V, a 1957 Les Paul TV Special, a 1961 SG Standard, and more.
 
Dexter Inferno said:
Bingo.
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That was one of the most telling comments I heard Paul Reed Smith himself make during an interview.... he talked about all of these vintage instruments that we consider the pinnacle of each intrument (50's teles, 60's LesPauls and Strats) but because the market has been driven up so high, many (if not most) players have never seen or held one, only reissues and copies.

That's where the PRS 594 came from... He wanted it to have the feel (scale length, two piece bridge, nitro top coat), and the sound (underwound humbuckers, well dried quality mahogany, thin headstock and body that resonates), but of course PRS has already been working to make nuts, bridges, string pull, etc that stays in tune reliably.

There are many people who say "Only Doctor's and Lawyers play PRS" because those are the fancy pricey ones that feed income into the private stocks.... but if you watch Nashville players, touring musicians, and studio pros... you will see a LOT of PRS guitars. :helper:
 
The funny thing is, Gibson has revamped the Epiphone line and they are cranking out some very high quality electrics.
 
i went thru my gibson phase back in the 70's. i owned several actual vintage (late 50's & early 60's) Gibsons. i have a 2008 or 09 Les Paul, that i haven't put 20 minutes of play time on in 5 years. i don't need another one.
since i've actually owned and played some of the holy grails, i'm not all that interested in what's being made now. and i'd never pay what they're asking for the old ones, today.
so, i don't hate them, i'm just not interested any more.
 
Maybe Gibson is going to start a record label that doesn’t treat artists like shit. That would be pretty cool.
But realistically I think the new execs have already forgotten how losing focus fucked Gibson up the last time around.
 
Well, judging by the responses in this thread, I think Bob’s OP thread question has been resoundingly answered :grin:.

To be fair, I have a 2021 LP Tribute that is fantastic, QC and all. For a MIA guitar, it is about the best bargain out there.

Denverdave said:
The funny thing is, Gibson has revamped the Epiphone line and they are cranking out some very high quality electrics.
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Well, I was encouraged by the “Inspired By” line when they were announced, but I gotta say, both the LP Jr. and 335 I had (briefly before returning) had quite a few QC issues, mainly with the godawful fret work - either scattered high frets, rough finishing, or both. I also grabbed one of the last Bonamassa ‘58 LP Black Beauties, and it was a fantastic guitar, but AGAIN, the sloppy fret work made it expendable.

Contrast the current Epis with similarly- (or lower-) priced PRS, Yamaha, Gretsch, Schecter, Squier, etc. MIC/MII/MIK imports, and I find those much better-built. I currently have two cheap Gretsches (and have had a few others) with damn-near flawless frets, and rival Epi in build quality. Why can’t Epi do the same on a consistent basis?
 
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