A Heavy-Hitting Les Paul, for Blues-Rock's Hardest Riffslinger
The Gary Moore BFG begins with the timeless tonewood combination of a carved maple top with a select mahogany body, as used for Gibson's legendary Les Pauls since 1952. On this guitar, the mahogany is strategically chambered to reduce weight and enhance resonance, giving you a Les Paul that really sings without breaking your back. While it carries a gorgeously figured maple top like Moore's favorite Les Paul Standards, it is treated to the raw finishing process that helps to give the BFG series its no-nonsense character.
This look is extended to the baked maple fingerboard, which is left unbound, with no marker inlays (other than side dots for positioning), and the guitar's lack of pickguard and its mismatched set of one amber top-hat knob and two gold top-hat knobs with silver inserts. If the finish is raw, however, the feel is not, with a rounded '50s neck profile that's ultra comfortable in the hand, and 22 medium-jumbo frets that are immaculately polished and crowned for superb playability. The Gary Moore BFG rams its raw resonance through a powerful mismatched pickup set of a vintage-style P-90 single-coil pickup in the neck position and a slightly overwound Burstbucker 3 with zebra coils in the bridge, routed through individual volume controls, a master tone control, the traditional three-way switch, and a clever kill switch to mute all output for stunning sonic effects.
Anchor it all down with kidney button Grover tuners, a PLEK-cut Corian nut, and Gibson's legendary Tune-o-matic bridge and stopbar tailpiece combo and you've got an instrument that's primed to do the dirty work. Each Gary Moore BFG comes protected in a plush-lined hardshell case, includes owner's manual and adjustment literature, and is covered by Gibson's Limited Lifetime Warranty and 24/7/365 Customer Service.
Each Gary Moore BFG is crafted from a two-piece figured maple top attached with ultra-strong Franklin Titebond 50 glue to a chambered mahogany body.
The Gary Moore BFG body woods present a combination outstanding treble bite and sustain from the maple, and excellent depth and richness from the mahogany, elements found in the classic Les Paul Standard tone. The chambering adds a further dimension, increasing the complexity of this guitar's tone, while also increasing its acoustic volume and sustain. The Gary Moore BFG nitrocellulose finish has also been kept ultra-thin to avoid choking the guitar's natural resonance, resulting in a lively, ringing electric tone.
The rough-and-ready style of the Gary Moore BFG is emphasized by the rough-hewn and minimally finished top of the guitar, the maple of which still bears marks from the carving process, and the top is left unbound to further enhance its no-nonsense esthetics. The chambered back serves to minimize weight, while also adding tonal nuances to the guitar's overall sound.
The average weight of a Gary Moore BFG body is 5.13 lbs, which is about normal for a Gibson guitar.
The Gary Moore BFG is finished in a thin satin lemonburst, a finish that accurately represents many of the highly faded sunburst finishes on vintage Les Pauls from the late '50s.
The satin finish with 30-sheen lacquer gives the Gary Moore BFG a look that is clean and professional, but less glossy and polished than many traditional guitars, with a slightly "pre-aged" appearance, and a smooth matte-finish feel. Process
The Gary Moore BFG is hand-finished in nitrocellulose in a process that is thinner than most and carefully monitored to ensure minimum build-up, in an effort to produce a final finish that breathes with the guitar and enhances natural resonance. Furthermore, the wood of the top and body still bear carving marks that remain from the milling process. The neck is hand-sanded after its initial finishing to give it the look and feel of a well-worn neck.
NECK AND HEADSTOCK
One piece of solid, quarter-sawn mahogany is used for the neck.
The Gary Moore BFG is fitted with Gibson's more traditional '50s neck profile, which is a round, meaty profile that emulates the neck shapes of the iconic 1958 and 1959 Les Paul Standards.
The angled, classical-style peg head and mahogany neck work together to provide exceptional tonal complexity from the neck, with increased depth and sustain from the chunky, rounded mahogany neck.
The average weight of the neck is .95 lbs.
Gibson uses what is known as the Mortis & Tenon joint to bind neck to body so that the two pieces form one solid unit. This time-tested joint style has been used in all the great woodworking arts – from shipbuilding to cabinetry – and has been proven to yield a stronger neck and body than if the instrument was made from a single piece of wood.
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The Gary Moore BFG headstock is carefully angled at a tried-and-true 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain. Truss Rod
Gibson's traditional truss rod, found in most all of our guitars, is highly responsive to the individual adjustments you'll want to make to personalize and optimize string action and sustain.
The Gibson logo – one of the most globally recognized logos of all time – is silkscreened in gold at the top of the headstock, with "Les Paul Model" silkscreened in gold along the center of the headstock face. Adhesive
The adhesive used to join neck and body is Franklin Titebond 50, one of the strongest glues on the market today.
When fitting the neck and body together, Gibson takes advantage of precise measuring equipment so that all angles, pitches and alignments maintain a tolerance within .005 of an inch. Not only does this help to keep your guitar in tune but it also maintains proper string alignment relative to the fingerboard.
FINGERBOARD AND NUT
The Gary Moore BFG is equipped with a baked maple fingerboard. The guitar’s fingerboard has no binding or inlays, enhancing the feel and look that this model sets out to achieve.
The Gary Moore BFG sports 22 medium-jumbo frets, all immaculately dressed and polished.
Baked maple fingerboard characteristics include good sustain with plenty of bite. It really shouts with bright highs and strong upper midrange.
The nut on the Gary Moore BFG is made from Corian, which is mainly composed of acrylic polymer. It's a durable material, delivers enhanced sustain, and holds the tolerances of the precision cuts made in the slotting process. It is installed into the top surface of the neck, butting up to the end of the fingerboard to ensure proper tone and sustain transfer, and its slots are cut with optimum precision by Gibson's computer-controlled PLEK machine.
The width of the nut on the Gary Moore BFG is approximately 1.695".
The 12-inch radius of the Gary Moore BFG fingerboard provides smooth note bending capabilities and eliminates "dead" or "choked out" notes, common occurrences on fingerboards with lesser radiuses.
Gibson's P-90 pickup, included in the neck position of the Gary Moore BFG, is an accurate recreation of the company's legendary single-coil from the '50s and '60s. It is wound to period-correct specs, and includes the distinctive black "soapbar" cover. The BurstBucker 3 in the bridge position represents today's finest rendition of the original PAF humbucker of the late '50s, in a unit wound toward the higher end of the spectrum for hotter lead tones and increased sustain. It is made with two coils wound with mismatched turns of wire for the slightly edgy, biting tone heard in a great PAF, and left unpotted for increased harmonic resonance. Its zebra-coil look echoes the appearance of the rarest of original PAFs.
The P-90 is made with two Alnico V bar magnets, and the BurstBucker 3 is made with a single unpolished Alnico II bar magnet, just like the originals.
In the neck position of the Gary Moore BFG, the P-90 offers plenty of raw growl and grind, with outstanding high-end clarity and a gritty texture that enhances its midrange punch and has helped to make this one a blueser's favorite for 60 years. The BurstBucker 3 in the bridge position provides scorching tones for hotter solos, and plenty of meaty crunch for rhythm work, all with excellent note clarity even within overdriven chords.
The Gary Moore BFG carries individual volume controls for each pickup, which consist of 300k linear potentiometers.
The Gary Moore BFG features a single master tone control, which consists of a non-linear 500k potentiometer.
The guitar features a 1⁄4" output jack made by Switchcraft. Its super heavy-duty construction holds your guitar cable securely in place.
The Gary Moore BFG features one three-way toggle switch made of stainless steel with white plastic tip and located on the lower bout by the volume and tone controls. This acts as the instrument's pickup selector. In the down position, only the bridge pickup is active. In the middle position, both pickups are active. In the up position, only the neck pickup is active.
The Gary Moore's sonic versatility is enhanced by a "kill" switch, located in the usual position for the three-way selector switch on the upper bout of the guitar. This can be used to mute all signal output from the guitar for stunning effects.
The headstock of the The Gary Moore BFG is equipped with chrome-plated Grover kidney button tuners with a 14:1 gear ration. These tuners are sealed with a special lubricant to ensure years of stable service, and are recognized as one of the finest tuners in the industry.
As with most Gibson guitars, the truss rod cover on the The Gary Moore BFG is made from vinyl plastic, is shaped like an antique bell, and is imprinted with Gary Moore's signature.
The Gary Moore BFG's aluminum strap buttons are the same style and design that Gibson has used since the early 1950s.
Befitting its BFG lineage, the Gary Moore BFG is crafted without a pickguard.
In 1954, Gibson rocked the world when it debuted the Tune-o-matic bridge, setting a standard for simplicity and functionality that has never been bettered. Included on the The Gary Moore BFG, the Tune-o-matic provides a firm seating for the strings, allowing the player to adjust and fine-tune the intonation and string height in a matter of minutes. It also yields excellent coupling between strings and body, maximizing resonance, tone and sustain. The Gary Moore BFG's bridge is made from Zamak then plated with chrome, and each one weighs approximately .118 lbs.
Every Tune-o-matic bridge is combined with a separate "stopbar" tailpiece, which is essentially a modified version of the earlier wraparound bridge that's designed to further enhance the connection between the strings and the body. The Gary Moore BFG's stopbar tailpiece is made from Zamak then plated with Platinum, and each one weighs approximately .168 lbs.
The knobs on the volume controls are gold top-hat style with silver inserts, while the tone control carries an amber top-hat knob with no insert.
The Gary Moore BFG is fitted with genuine Gibson strings, sizes .010-.046.
Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.
For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.
For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.
I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)
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