Gibson SG (guitar, electric)
This is the first of what I’m expecting to be an ongoing series of musical equipment reviews based on my current home setup. Needless to say I’m only an amateur enthusiast with a number of other interests (DVDs and CDs among them) so my rig’s pretty limited. Anyway, I’m sure there are fellow guitar geeks around who are only too happy to discuss/compare/brag about the various bits and pieces they have stashed away in attics, studios and spare bedrooms.
The Gibson SG is an iconic piece of rock ‘n’ roll history, being directly descended from the classic Les Paul model of solid-bodied electric guitars that the Gibson corporation sold way back in the 1950s. Originally intended to supercede the old LP, the axe that became known simply as the SG ended up being sold alongside its illustrious predecessor instead of replacing it and as a result both models have been manufactured, played and occasionally smashed up on stages and studios worldwide ever since. Although they are pretty similar there are a number of minor differences between the LP and the SG that you might want to consider, aside from the fact that the SG is considerably cheaper! The LP usually has a single cutaway at the point where the neck is glued to the body while the SG has two symmetrical cutaways, plus as larger scratchplate. There are a few other cosmetic differences but the most important one for players is that the SG’s body is thinner (being made of solid mahogany without the layer of maple on the front), which makes it much lighter and more comfortable when played standing up.
The playability of the SG is an improvement over the Les Paul for this reason but with the trade-off of losing a little of the latter’s sustain and ’solid’ feel (its relative fragility reputedly making it a prime candidate for Pete Townsend’s destructive on-stage antics); because the body is lighter the guitar as a whole is a little top-heavy which means you’re often supporting the neck with your fretting hand. The neck by the way is pretty chunky when placed alongside Fender and Ibanez guitars, which is something to bear in mind for beginners - on the plus side the thick glue-on neck, angled headstock and simple whammy-less bridge make for a straightforward instrument that’s rugged and reliable, and gives great sustain which is one aspect in which Gibson guitars win out over their rivals.
Players looking for MBV-style vibrato glides, Hendrix wobbles or Van Halen-style dive-bombs will have to look elsewhere: most SGs lack the trem bridge that Fender-style instruments have, which further enhances the note sustain (and makes the strings more inclinded to stay in tune). It’s truly a no-nonsense rock guitar, which is one of the reasons why I prefer it. The electronics are a simple arrangement that Gibson have used for decades: two pickups connected by a three-way selector switch for rhythm (neck pickup) and/or treble (bridge), with a volume and tone control for each. The pickups are the standard Gibson double-coil ‘humbucker’ design, which contributes more than anything to the guitar’s characteristic sound.
Rock and metal guitarists often favour the Gibsons for the louder sound that gives a warmer and less treble-y tone than, say, Fender Strats and Teles. It has more bottom end, plus a powerful mid range with less background noise, which is great for making yourself heard over bass and drums. The bridge pickup offers a cutting tone that’s not too shrill when your amp’s gain is cranked up and is probably the configuration of choice when doing a wailing solo through a distortion pedal and/or a cranked up amp. The neck pickup is darker in tone but gives some great warm bluesy clean sounds at lower volumes and as its selection switch label suggests is perfect for chord playing; I recommend a middle position for the selector switch when strumming, and adjusting the volume controls for the two pickups to best suit your amp’s EQ settings.
For those who want the AC/DC grittiness or smooth G&R overdrive need look no further than an SG plugged into an overdriven Marshall valve rig; remember though that it’s a VERY different sound from the likes of Hendrix’s or Clapton’s strats, or the Teles used by Springsteen and Richards. Gibson pickups lack that wiry sparkle of Fender’s single coil designs so jazz and country players probably won’t find the SG’s raucous bark to their tastes; on the plus side they’re considerably louder with more bass, which is better for Sabbath and Led Zep-style blues/rock and the various incarnations of heavy rock and metal that they spawned. If you’re a real metalhead however, even the bridge pickup configuration of the SG may not be suited for the scooped, thrashy and ultra high-gain tones of modern nu-metal. It’s pretty dependent on your amp and effects I suppose but if that’s your thing the more modern active pickups (which offer more volume and gain) with double/single coil switching that companies such as ESP and Jackson offer might be closer to what you’re looking for.
Most importantly, the guitar has to feel as well as sound right when you’re playing it; as a fan of classic heavy rock and 90s alternative, my playing style has gravitated over the years towards a mixture of old shool riffs and high gain metal so the Gibson is the perfect instrument for me. The neck could be a bit more manageable and the instrument as a whole could be more balanced but when it’s lighter on your shoulder (and your bank balance!) than the Les Paul, the SG is an all round no-nonsense instrument that rock, metal and even blues players should consider trying. I love mine to bits, just not in the Pete Townsend sense…
Posted on February 23rd, 2008 @ 3:02 pm
the problem with SGs is that they just don’t stay in tune. None of them. They’re a pain in the ass, so much so that I only kept mine for a little under two years before I demanded the retailer take it back. The cheaper versions, such as the “Faded SG” are particularly prone to coming out of tune. If you want the Gibson sound, spend a little extra and get the Les Paul or an ES or even a Flying V or Explorer (though they’re both stage-only instruments, terrible for practising on your lap). Otherwise, if your budget is in the $1000 range, go for a Fender or something Japanese.