They are keeping the guitars and selling off the consumer electronics part , which I did not know they owned.
Yep - I posted about it in the Great Ongoing Guitar Thread. Been a long time coming.
I don’t really give a damn, as all I’ve ever played are Fender guitars and basses. I have a Telecaster, a P-bass and a Jazz Bass and I don’t like playing any other guitars or basses. Those are the best that exist, as far as I’m concerned.
That’s all well and good, but we as guitar players should want them to remain a viable instrument maker (and it looks like they are still viable and were as prepared as any company could be for impending bankruptcy).
Les Paul devotees would probably feel the exact same way about you and your guitars.
Well, if those instruments are discontinued, other makers will produce copies that will be virtually identical in looks, sound, and playability. And probably charge less for them than Gibson’s absurd price-gouging ass-rape prices. I once looked through a Gibson catalog and saw Les Pauls in the $10,000 and up range. Absurd! Yeah, these are special “collector’s edition” models, but it’s still bullshit.
I’ve also heard that Epiphone’s quality control vs. Gibson is terrible compared to Squier vs. Fender. I swear to God, I can pick up almost any Squier bass I’ve ever seen at a guitar store, and with a decent amp and a little knob adjustment, get it sounding exactly like my American Fenders. You can buy a Squier for $250 that will seriously be equal to the instruments that rock stars who have millions of dollars and Ferraris play onstage for thousands of fans.
Fender does the same damn thing. There’s no new tele that’s worth more than a grand (as a playing instrument) in my book, it’s just not that difficult to make one. But the Fender custom shop will sell you one that looks like it’s been beat to death for about $5K, if you so desire. At least Gibson usually tries to make them look new when they charge stupid prices.
Well, I don’t have to rely on word of mouth. I’m cheap, I shop a lot, and I own both marques. The Epi EB-3 I own is pretty great. It’s tuna can sounds better than the tuna can in the '67 Gibson EB-0 I used to own. My two complaints are that it’s finished like a piano, and it is 34" scale for some stupid reason. I also played every Jazz bass under $1500 that GC had in stock, and the best sounding one was a $350 Squier, which I promptly bought. Really, unless you just gotta have a made in USA instrument, both lines are great. If you want to save more money, shop around for the other Asian marques that don’t share the cachet that Squier/Epi get. They make fine instruments too, sometimes in the same factories and from the same wood blanks.
Now, Gibson has its sins. They deserve an economic contraction for the robo-tuner debacle, at least. They’ve also plunged a bunch of cash into other tech no-one was asking for. Having stupidly priced custom shop guitars? That’s the stuff that all manufacturers dream of being able to sell. I’m not going to buy one, and Gibson offeres sub $1K guitars and basses that are plenty fine. I’m sure not going to hold their boutique nonsense against them, especially when their competitors do the same thing*. I own several actual Fenders and Gibsons, too, recent and old. I can find little to dislike about either.
Now, hopefully with Juszkiewicz’s departure, the company can go back to focusing on making good guitars, rather than failing at redefining it every 10 years or so. Gibson has tried that several times in the past, and it always bit them. It’s like the Empire making more Death Stars, and it makes about as much sense. You can push the envelope guys, just don’t try to make it the core of your business. That’s the role of the startup with nothing to lose.
*Ok, I honestly can’t think of Peavey ever doing this. More reason to respect the awesome amount of nice Peavey equipment rolling around for the musician with discerning tastes, and an ability to overlook logos.
I vaguely remember, not all that long ago, Gibson and Fender both came out with new basses at what seemed like the same time, and neither of them really took off.
Fender’s was called the Dimension, and I actually played one once and remember liking it quite a bit. But I rarely see them. I guess make that “never” see them.
Gibson’s was the EB, and though I never played one, I saw pictures of it online or in guitar magazines. I thought it looked very unpleasant, not symmetrical nor attractively-asymmetrical, just poorly designed. Did not look like a Gibson product. I thought at least the Dimension looked good.
If Gibson re-issued the Victory Bass, though, and sold it for under 1k, I’d buy it. That was a cool-ass looking bass, no two ways about it.
Peavey is awesome. My VERY first bass, even before the Jazz Bass I got when I was 13, was a Peavey rented from a local music store.
I always liked the look of the Peavey headstock. I actually think it’s the coolest looking headstock of any guitar company. It’s like a more aggressive and angular version of Fender’s.
Words only a bass player would say.
I don’t know why this divide exists between guitarists and bassists, but if you compliment Peavey, you’re probably a bass player.
Well for me it was the amps. Never owned one, but I always liked the sound I heard coming from a Peavey bass amp. Every Peavey guitar I ever heard in person had this “clanky” sound I didn’t care for at all. I did briefly own a Peavey Patriot II guitar, many years ago, that I really liked.
I haven’t been able to respect Peavey since seeing Undercover Boss.
The guy that runs Peavey is a giant tool who lied to the employees. Right to their face.
I will never allow Peavey equipment in any band I’m associated with. YMMV I have no respect for liars or the companies that employ them.
I’m a bit worried about getting parts for my Gibson ES339 (custom shop) that I bought in 2013. It was a very expensive, once in a lifetime purchase. A investment.
Doesn’t feel good to see the company die 4 years later.
Here, let me actually quote the COO’s response:
And what they say about their manufacturing is true. They produced affordable American-made products as long as they could, and still do when they can. If your opinion of them is colored by a bad reality show that can only be relied upon to slant things toward controversy and ratings, I don’t know what I can do for you other than to have my mileage vary.
Also, if you want to prohibit equipment, you’d better be providing a steady paycheck.
That you’re worrying about parts availability in the next post is kind of humorous. Peavey still works hard at customer support, and hasn’t been mismanaged into bankruptcy. BTW, it’s chapter 11, Gibson’ll probably still exist afterward.
LOL. We’ve got a big mover and shaker in the music industry, right here. Why, he’ll never allow Peavey equipment in any band he’s even associated with - not even just a member of, but associated with. The owner of Peavey is clearly shitting bricks.
I’ll try not to fret.
You, bet. I got Peavey shaking in their boots. LOL
I realize there’s not much to be done. All the manufacturing is moving overseas.
I still don’t like it.GALLIEN-KRUEGER Amps moved production to China. Then brought it back to California. I love my GK Bass amp.
Well, in the defense of the clinky/clanky amps, they were usually the more inexpensive variety, right? Maybe a bandit? Even as far back as the 70’s, the higher end stuff they made could make sometimes a wide variety of phenomenal tones. The inexpensive stuff all had one sound it did well, and you’d better hope you wanted that sound. The same was generally true of the other amps in it’s price range. A cranked Gorilla was gorgeous (I had a bandmate who sounded best through one), but you’d better want the sound of a cranked Gorilla, because it kind of stank otherwise.
But yes, in the end, their legacy is that even their budget bass gear was pretty great. A TKO combo could cover any country gig, and any of their solid state heads made a decent bass amp, even if that wasn’t it’s originally intended purpose. The fact that most of them could handle crazy ohms ratings that an inexperienced musician might throw at it (my Series 400 Musician can technically handle 1 ohm, just stupid), is just insurance. Other than lifting and carrying the stuff, I don’t know anyone who had a bad experience using Peavey gear for bass.
ETA on preview: Hehehe, and the silliness of my position is that I’ve gone through a herd of bass heads and cabs (including GK) to try to pursue the tonal ideals of my bandmates. In real life, I see a bandmate complaining as an excuse to go shopping. I’ve toted an 70lb, $1500 head to more than one gig, because it was the one that satisfied us all. Still do, as a matter of fact, but that’s because of the built-in direct out that is post preamp. The one that wins on tone and not features is that Peavey Musician that cost all of $200 after it had already been rebuilt. In a tiny club, it rules. I just need a cab level DI like the Radial JDX to use the sound it makes at bigger clubs.
…hmm, that’s still only a couple of bills, I think. I feel the urge to go shopping.
I’m a decades Les Paul player. I love the strats and teles too. I just wish Marshall amps would disappear, like 20
years ago. I’d rank Crate 10 watt amps as more ballsy than those.
they charge high prices because people pay them. As many people know a lot of high priced stuff is not bought by musicians who make a living from music. It’s bought by guys with a regular job who are well paid .
I expect cheap stuff to be made in China but when I see expensive stuff made there they just want extra profits.
Screw the guitars. What about the banjos?
Anyway, it doesn’t mean they are gone forever. The are trying to get back on their feet.