Category: Signature Sounds of Classic Rock

The Dumble Overdrive Special amplifier is considered one of the most sought-after and iconic guitar amplifiers in the history of rock music. Created by Howard Alexander Dumble, a reclusive amp builder based in California, the Dumble Overdrive Special has gained legendary status due to its unique tonal characteristics and its association with some of the world's most renowned guitarists. Let's delve into the history of this remarkable amplifier and the guitarists who have embraced it.

Origins and Development: Howard Dumble started building amplifiers in the late 1960s. He crafted each amplifier meticulously, with a strong emphasis on tone and quality. The Dumble Overdrive Special came to prominence in the mid-1970s and gained popularity due to its ability to deliver a wide range of tones, from clean and pristine to rich, harmonic overdrive. Dumble amps were hand-built in limited quantities, in various configurations, and their high price tags made them exclusive and highly coveted.

Notable Features: The Dumble Overdrive Special is known for its distinct tonal characteristics. It typically offers a three-channel configuration with separate inputs and controls for each channel. The clean channel provides a smooth, glassy tone, while the second channel delivers a mild overdrive. The third channel, the "Overdrive Special," is the amp's signature feature, offering a cascading gain structure that provides a highly responsive and touch-sensitive overdrive tone.

Dumble Peculiarities (Personal and Professional): Dumble asked prospective clients to sign contracts stipulating the purchased amp's chassis not be opened or photographed, nor the amplifier be resold without his authorization. In the 1980s, Dumble began "gooping" his preamplifier circuit boards with opaque epoxy, ostensibly to foil copying. In the 2000s, he began asking to be referred to as "Alexander", his middle name. Living largely "off the grid", he would trade repair or refurbishment work for things like needed household appliances.

Guitarists and their Dumble Amps: Numerous influential guitarists have used the Dumble Overdrive Special and other Dumble amplifiers, contributing to the amp builder's mystique and reputation. Here are some notable guitarists associated with Dumble amps:

Stevie Ray Vaughan: One of the most celebrated blues guitarists, Vaughan is often synonymous with the Dumble sound. He primarily used a Dumble Steel String Singer to achieve his iconic blues tones, and his usage of this amp greatly contributed to its popularity.

Robben Ford: Renowned for his jazz and blues fusion playing, Robben Ford has extensively used Dumble amps throughout his career. He helped showcase the versatility of the Dumble Overdrive Special in various musical contexts.

Larry Carlton: A highly regarded session guitarist, Carlton has been a longtime user of Dumble amplifiers. His distinctive jazz and fusion playing style found an ideal match in the responsive and dynamic qualities of the Dumble Overdrive Special.

John Mayer: Known for his soulful and melodic playing, John Mayer has embraced the Dumble sound, particularly in his earlier years. He utilized Dumble Overdrive Specials to achieve his expressive and smooth guitar tones.

Carlos Santana: While Santana primarily used other amplifiers like the Mesa/Boogie Mark series, he did incorporate Dumble amplifiers into his rig for specific albums and performances, including the renowned album "Supernatural."

Eric Johnson: Recognized for his virtuosic guitar playing and meticulous attention to tone, Eric Johnson has employed Dumble amplifiers in his setups. His use of Dumble amps can be heard on his iconic album "Ah Via Musicom."

It's important to note that Dumble amplifiers are extremely rare and highly sought after, leading to a limited number of musicians having the opportunity to play through them. Nevertheless, their impact on the guitar world and the distinct tones they produce have left an indelible mark on the history of guitar amplification.

The Melody Maker is a popular model of electric guitar produced by Gibson. It has a long history dating back to its introduction in 1959. The Melody Maker was initially designed as an affordable option for beginners and students, but it gained popularity among professional musicians as well due to its unique sound and simplicity.

Here are some key features and details about the Gibson Melody Maker:

Design and Construction: The Melody Maker features a solid body construction, typically made of mahogany or a combination of mahogany and other tonewoods. The original body had a single-cutaway design, similar to Gibson's iconic Les Paul models. It has a lightweight and sleek design, making it comfortable to play for long periods.

Neck and Fingerboard: The guitar typically has a one-piece mahogany neck with a set-in joint, providing stability and sustain. The fingerboard is usually made of rosewood or baked maple and features dot inlays or simple acrylic dot markers.

Scale Length and Frets: The scale length of the Melody Maker is typically 24.75 inches, which is a common scale length found on many Gibson guitars. The number of frets varies, but it usually has 22 medium-jumbo frets. 3/4 scale versions with necks joining the body at the 12th fret to accommodate younger, smaller players were also offered.

Pickups and Electronics: The Melody Maker was known for its simplicity when it comes to electronics. It usually features one or two single-coil pickups, though some models have been equipped with humbuckers. The controls are straightforward, including volume and tone knobs, and sometimes a three-way pickup selector switch. The sold body was routed to accommodate pickups and controls, which were all mounted on the pickguard.

Bridge and Hardware: The guitar usually comes with a wraparound compensated bridge/tailpiece combination, providing simplicity and ease of string changing. The hardware, including the tuning machines and bridge, is generally basic but functional. Players often replaced the bridge with an aftermarket adjustable bridge/tailpiece unit, such as the Leo Quah "Badass" model. Replacement tuners such as those by Schaller or Grover were popular.

Finishes: The Melody Maker has been produced in various finishes throughout its history, including natural, sunburst, solid colors, and more. The available finishes may vary depending on the specific model and year of production.

Evolution and Variations: Over the years, Gibson has released different versions and variations of the Melody Maker. Some notable models include the original single-cutaway models from the late '50s and early '60s, the double-cutaway models from the '60s and '70s, as well as reissued versions in recent years. The original double cut design gave way to an SG style body shape in 1966. Later reissues returned to the earlier designs.

Sound and Playability: The Melody Maker is often praised for its unique tonal character. It tends to have a bright and snappy tone, especially with the single-coil pickups, making it suitable for genres like rock, blues, and alternative music. The simplicity of the design and minimal electronics contribute to its raw and focused sound. The lightweight construction and comfortable neck profile make it a pleasure to play.

Notable Players: A number of artists have become known for their embrace of the Melody Maker. Jimi Hendrix is known to have owned and played a 1966 cherry finish double cut model early in his career. Joan Jett has a signature model, as does Michael Clifford of 5 Seconds of Summer, although both feature pickups and embellishments not found on original MM models.

It's worth noting that Gibson has made various changes and updates to the Melody Maker over the years, so the specific features and details can vary between different eras and models. If you're considering purchasing a Melody Maker, it's recommended to research the particular year and model you're interested in to ensure it aligns with your preferences.

The Gibson EDS-1275 is a unique and iconic double-neck electric guitar produced by Gibson Guitar Corporation. It gained popularity for its distinctive design and versatility, allowing guitarists to switch between six-string and twelve-string configurations on a single instrument.

Introduction: The EDS-1275 was introduced by Gibson in 1958. The "EDS" in the name stands for "Electric Double Spanish." Catalogs called it the "Double 12". The guitar was intended to cater to the needs of guitarists seeking a versatile instrument capable of producing a wide range of sounds.

Early Design: The initial design of the EDS-1275 in 1957 featured a semi-hollow body and a 12-string/6-string neck combo, with dual PAF humbuckers for each.

Evolution in the 1960s: In the early 1960s, Gibson redesigned the EDS-1275. Starting in 1962, the guitar had a solid mahogany body and a set neck construction. Although similar in shape to the Gibson SG, the EDS-1275 body does not feature the pronounced curvature of the SG's horns. It became popular among rock guitarists looking for a single instrument capable of covering both rhythm and lead guitar duties.

Influential Performances: The EDS-1275 gained significant attention and recognition when it was used by prominent guitarists in various musical genres. One of the most notable early adopters was blues-rock legend Jimmy Page of Led Zeppelin, who used the double-neck guitar extensively during live performances, most notably in the song "Stairway to Heaven."

Popularity and Cultural Impact: Throughout the 1970s and beyond, the EDS-1275 continued to be sought after by guitarists in various genres, including rock, hard rock, and progressive rock. Its distinctive appearance and versatility made it an iconic symbol of rock music. Other notable artists who used the EDS-1275 include Alex Lifeson of Rush, Don Felder of Eagles, and Slash of Guns N' Roses.

Other Gibson Double-Neck Configurations:

• As early as 1937, Gibson had made the ESH-150, a solid-body 6-string guitar/8-string lap steel combo.
• The 1957 EMS-1235 featured an 8-string mandolin/6-string guitar duo with a semi-hollow body with double binding.
• The EBS-1250 (1962-1968, 1977-1978) featured 4-string bass and 6-string guitar necks, The EBSF-1250 added a built-in fuzztone.
• The EMS-1275 Octave featured two 6-string guitar necks, one with a scale short enough that it could be tuned an octave higher than the other.

Modern Production: Gibson has continued to produce the EDS-1275 in various iterations over the years. The guitar has seen refinements in its design, construction, and electronics. Modern versions often feature a solid mahogany body, mahogany necks, rosewood fingerboards, and Gibson's own humbucking pickups.

Collector's Item: Due to its historical significance and association with legendary guitarists, vintage EDS-1275 guitars have become highly collectible. Original models from the late 1950s and early 1960s, especially those in good condition, command high prices in the vintage guitar market.

The Gibson EDS-1275 remains an iconic and sought-after instrument, loved by guitarists for its unique design and ability to produce a wide range of sounds. Its place in rock music history is firmly established, and it continues to be a symbol of versatility and craftsmanship in the world of electric guitars.

The Korg ARP 2600 is a legendary analog synthesizer that has made a significant impact on the history of electronic music. It was developed in the early 1970s by the American company ARP Instruments in collaboration with Alan R. Pearlman, and later it was reissued by Korg in 2019.

Development and Release (1971-1972): Alan R. Pearlman, the founder of ARP Instruments, designed the ARP 2600 as a semi-modular analog synthesizer. The synthesizer was officially released in 1971, offering a portable and versatile alternative to the larger modular systems of the time. The ARP 2600 was designed to be a user-friendly and approachable synthesizer, making it popular among musicians, educators, and sound designers.

Features and Design: The ARP 2600 features a semi-modular architecture, meaning it has pre-wired connections but can also be patched manually for expanded sound possibilities. It includes three voltage-controlled oscillators (VCOs), a low-pass filter (VCF), a voltage-controlled amplifier (VCA), and an envelope generator (EG). The system also incorporates a ring modulator, sample and hold circuit, noise generator, spring reverb tank, and a variety of control voltage inputs and outputs. Unlike most synthesizers of the time, the ARP 2600 was housed in a self-contained portable case, which made it more accessible for live performances and studio use.

Popularity and Influence: The ARP 2600 gained popularity among musicians and sound designers due to its distinctive sound and flexible patching capabilities. It was prominently featured in numerous iconic recordings across various genres, including rock, pop, funk, and electronic music. Notable artists who used the ARP 2600 include Stevie Wonder, Herbie Hancock, Jean-Michel Jarre, The Who, Nine Inch Nails, and many others.

Its sound can be heard in famous tracks such as the bassline of The Who's "Who's Next," the lead melody in Edgar Winter's "Frankenstein," and the sound effects in the original Star Wars trilogy.

Discontinuation and Reissue: ARP Instruments faced financial difficulties in the late 1970s and eventually ceased operations in 1981. Due to its limited production run, the original ARP 2600 became a sought-after and expensive vintage synthesizer.

In 2015, Korg announced a partnership with ARP Instruments to revive the ARP brand and reissue the ARP 2600, now called the Korg ARP 2600 FS (Full Size). The reissued version closely follows the original design and sound while incorporating a few modern enhancements, such as MIDI connectivity and XLR outputs.

The Korg ARP 2600 remains highly regarded for its sound, flexibility, and historical significance in the world of analog synthesizers. Its influence on music production and its iconic status among electronic musicians make it a timeless instrument in the history of electronic music.

The Gibson Les Paul is one of the most iconic and revered electric guitar models in history. Its rich history spans over several decades, beginning in the early 1950s. Here's a brief overview of the Les Paul's history:

Development and Introduction (1950-1952):
The Les Paul model was developed by Gibson in collaboration with renowned guitarist and inventor, Les Paul. The initial prototype, known as "The Log," was created by Les Paul himself in the late 1940s, named for the pine block running through the middle of the guitar. Hollow guitar sides or "wings" were added to achieve a conventional shape. Paul had brought his prototype to Gibson, but it was rejected.

In 1951, Gibson president Ted McCarty and his team began work on what would eventually become the Les Paul model. The intent in developing the guitar was not so much to compete with Fender's solid body electric as it was to outshine it; Gibson's would be a well-made-- and expensive-- guitar. McCarty's intent in approaching Les Paul for the right to imprint the musician's name on the headstock was mainly with an eye toward increased sales.

In 1952, Gibson officially introduced the Les Paul Goldtop model. It featured a solid mahogany body with a carved maple top, a glued-in mahogany neck, two P-90 single-coil pickups, and a trapeze tailpiece.

The Gibson Les Paul Custom (1954-1960):
In 1954, Gibson introduced the Les Paul Custom, also known as the "Black Beauty." It featured an all-black finish, multiple binding on the body and headstock, gold hardware, and an ebony fingerboard with mother-of-pearl inlays. The original Customs were fitted with a P-90 pickup in the bridge position and an Alnico V "staple" pickup in the neck. In 1957, the Custom was fitted with Gibson's new PAF humbucker pickups, and later became available with three pickups instead of the usual two.

When the original Les Pauls were discontinued in 1960, the Custom model's features and designation were transferred to a new SG Custom model.

Evolution and Innovations (Late 1950s-1960):
Gibson continued to refine and evolve the Les Paul model throughout the late 1950s and into the 1960s. In 1957, Gibson introduced the PAF (Patent Applied For) humbucking pickups, which provided a warmer and thicker tone compared to the original P-90 pickups. The Les Paul Standard was introduced in 1958, featuring a sunburst finish, a tune-o-matic bridge, and a stop tailpiece.

For all its innovations, the Les Paul Standard didn't sell well. The guitar was heavy, and Gibson was still marketing primarily to an older, jazz-oriented audience. As a result, fewer than 2000 of the model were sold 1958-1960.

In 1961, Gibson made some design changes to the Les Paul, giving it a thinner body and a double-cutaway shape. These models are commonly referred to as the "SG" (Solid Guitar) series. Les Paul did not approve of the changes, and asked his name be removed from the guitars. Even so, many press and promotional photos, and even album covers exist showing both Paul and his wife Mary Ford with 1961 SG Custom model guitars. And, for a period of time, some were still sold with "Les Paul" inscribed on the truss rod covers.

Discontinuation (1960) and Reintroduction (Late 1960s-1970s):
Despite its initial success, sales of the Les Paul declined during the late 1950s due to competition from other guitar manufacturers. As a result, Gibson decided to discontinue the Les Paul model in 1961 and replaced it with the aforementioned SG series.

In the mid-1960s, seeking to emulate their American blues guitar heroes, British rock guitarists began to embrace the original Les Paul models. Subsequently, popular demand prompted Gibson to reintroduce the Les Paul in 1968. This reintroduction included both the "Standard" and "Custom" models, featuring the original single-cutaway design and a range of finishes.

The Gibson Les Paul Deluxe (Late 1960s-1985):
In the late 1960s, Gibson also released the Les Paul Deluxe, which had mini-humbuckers instead of full-sized humbuckers. The pickups were surplus Epiphone inventory, and were fitted into pre-carved P-90 size cavities by means of an adapter ring. Several notable guitarists used Deluxes over the years, although many opted to switch the pickups to full-size humbuckers. The Deluxe went through multiple neck and body construction changes over the years, but was eventually discontinued in 1985.

Professional (1969-1971) and Recording (1971-1979) Models:
In 1969, the Les Paul Professional was introduced. The model forewent the cosmetic embellishments of the Standard and Custom and was aimed at the studio musician. Low impedance pickups replaced standard humbuckers, and two toggle switches provided additional tonal controls. The model was not popular, however, and was discontinued after selling less than 120 units. It would be replaced by the "Recording" model.

The Les Paul Recording differed from the Professional in only minor ways, primarily the controls layout. It was, however, the model Les Paul himself preferred.

Les Paul Studio (1983-present):
The Studio followed the Recording as a model designed to appeal to those who wanted the classic Les Paul sound at a lower cost than Standard or Custom models, again primarily studio musicians. Unlike the Professional and Recording, the Studio was basically a stripped-down Standard with a slightly thinner body. Features such as body binding, neck binding, and headstock inlays were not available.

Over time, revisions were made to the Studio to improve playability and reduce weight, a complaint often lodged against the Standard and Custom. Ironically, Studio models gradually began to be offered with most of the cosmetic features the model was originally intended to eschew.

Modern Era and Variations (1980s-Present):
Since the 1980s, Gibson has continued to produce various Les Paul models, offering different finishes, pickups, and features to cater to the preferences of modern guitarists. Some notable variations include the Les Paul Classic, Les Paul Traditional, Les Paul Custom Lite, and Les Paul Custom Pro. Gibson has also collaborated with famous guitarists to create signature Les Paul models, such as the Jimmy Page Signature and the Slash Signature Les Pauls. Gibson also offers Les Paul models under their more economical Epiphone brand.

The Gibson Les Paul's timeless design, powerful tone, and notable association with legendary guitarists have made it a highly sought-after instrument, securing its place in music history as an iconic electric guitar model.

The invention of the humbucking electric guitar pickup revolutionized the world of electric guitars by eliminating unwanted electrical interference and producing a rich, noise-free tone.

In the early days of electric guitars, single-coil pickups were commonly used. While these pickups were effective in converting string vibrations into electrical signals, they were also susceptible to external electromagnetic interference, commonly known as hum. This interference caused an audible hum or buzz in the signal, particularly in environments with electrical equipment or strong radio waves.

The humbucking pickup was invented by Seth Lover, an engineer working for Gibson Guitar Corporation in the 1950s. Lover's goal was to develop a pickup that would cancel out the unwanted hum while maintaining the tonal characteristics of a single-coil pickup.

The key innovation in Lover's design was the use of two coils instead of one. Each coil was wound in opposite directions, with one coil connected in reverse polarity to the other. This arrangement allowed the coils to capture the string vibrations but cancel out the hum by virtue of the opposite winding and polarity.

The first commercially produced humbucking pickup was introduced by Gibson in 1957 as the "PAF" (Patent Applied For) pickup. These early PAF pickups were featured on Gibson's high-end electric guitars, including the Les Paul models. The PAF pickups gained popularity due to their ability to provide a warm, full-bodied tone while effectively eliminating hum.

Gibson sought to protect their invention by applying "PAF" stickers to the backs of their humbucking pickups. Later, they applied stickers with a patent number to the pickups, and they came to be referred to as "patent number" pickups. This was actually a bluff, however, as the patent number referred to on the stickers was for the patent they had secured for the adjustable bridge on their guitars.

Over the years, other guitar manufacturers started incorporating humbucking pickups into their instruments, recognizing their benefits. The humbucker became a defining characteristic of many iconic electric guitars, including the Gibson SG, Fender Stratocaster HSS (Humbucker/Single-Coil/Single-Coil) models, and countless others.

As time went on, various variations and improvements were made to the original humbucking pickup design. These modifications included changes in magnet types, coil winding techniques, and the introduction of different wiring options, such as coil splitting and tapping. These advancements allowed players to achieve a wider range of tones and versatility.

Today, humbucking pickups remain a staple in the electric guitar world. They are favored by musicians across different genres for their noise-canceling capabilities and the distinct, fat tone they produce. The invention of the humbucking pickup by Seth Lover continues to shape the sound of modern electric guitars and has become an integral part of the instrument's evolution.

The Moog synthesizer is a type of analog synthesizer that was invented by American engineer Robert Moog in the 1960s. It is a type of electronic musical instrument that generates audio signals using electronic circuits and modules that can be manipulated to create a wide range of sounds.

The Moog synthesizer was one of the first commercially available synthesizers and was popularized in the late 1960s and early 1970s by musicians such as Wendy Carlos, Keith Emerson, and Rick Wakeman. It has been used in a wide variety of music genres, including rock, pop, electronic, and experimental music.

The Moog synthesizer is known for its distinctive sound, which is characterized by its warm, rich, and fat analog tones. It typically features a keyboard interface, various modules such as oscillators, filters, envelopes, and amplifiers, and patch cords that allow users to connect the modules together and create unique sounds.

Over the years, many variations of the Moog synthesizer have been produced, including the MiniMoog, the Moog Modular, and the Voyager. Today, Moog synthesizers are still being produced and used by musicians and music producers all over the world.

The Rickenbacker 12-string electric guitar is a musical instrument known for its distinctive chiming sound and unique design. It was first introduced in the early 1960s by the Rickenbacker company, and quickly became popular with guitarists looking for a brighter, more jangly sound than what was possible with a traditional 6-string electric guitar.

One of the key features of the Rickenbacker 12-string is its unique "Rick-o-Sound" wiring, which allows the guitar to be split into two separate output signals - one for each pick-up. This allows the player to control the tone and volume of each signal separately, giving them a great deal of flexibility in creating their sound.

In terms of its design, the Rickenbacker 12-string is characterized by its distinctive "shark fin" inlays on the fretboard, its distinctive headstock shape, and its unique "slash" soundhole. It is available in a variety of finishes, including natural, black, and the iconic "Fireglo" sunburst finish.

Some notable guitarists who have used the Rickenbacker 12-string include George Harrison of the Beatles, Roger McGuinn of the Byrds, Tom Petty, and Johnny Marr of the Smiths.

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