Gibson Guitars Guitar 1550 07 GUS User Manual

OWNER’S MANUAL

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To the new Gibson owner:

Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous

electric guitar from the leader of fretted instruments.

Please take a few minutes to acquaint yourself with the information in this booklet regarding

materials, electronics, “how to,” care, maintenance, and more about your guitar.

And then begin enjoying a lifetime of music with your new Gibson.

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The Components of the Solidbody Electric Guitar

Gibson Innovations

The History of Gibson Electric Guitars

DESIGN AND CONSTRUCTION

Body

Neck and Headstock

Pickups

Controls

Bridge

Tailpiece

CARE AND MAINTENANCE

Finish

Your Guitar on the Road

Things to Avoid

Strings

Install Your Strings Correctly

String Gauge

Brand of Strings

NEW TECHNOLOGY

The Gibson Robot Guitar

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Stopbar

Tailpiece

Strap

Button

Tune-o-matic

Bridge

Three-way

Pickups Toggle Switch

12th Fret

Marker/Inlay

Neck Fret Fingerboard Nut

Headstock

The Components

of the Solidbody

Electric Guitar

Featuring a Les Paul

Standard in Heritage

Cherry Sunburst

Input Jack

Tone

Controls

Binding

Body

Truss Machine

Tuning

Keys

Volume

Controls

Single

Cutaway

Rod

Heads

Cover

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Stopbar

Tailpiece

Strap

Button Body

Tune-o-matic

Bridge Pickups

12th Fret

Marker/Inlay

Neck

Fret Fingerboard Nut

Headstock

Three-way

Toggle

Switch

The Components

of the Solidbody

Electric Guitar

Featuring a V-Factor Faded

in Worn Cherry

Input Jack

Tone

Control

Volume Pickguard

Controls

Truss

Rod

Cover

Machine Tuning

Heads Keys

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Here are just a few of the Gibson innovations that have reshaped the guitar world:

1894 – First archtop guitar

1922 – First ƒ-hole archtop, the L-5

1936 – First professional quality electric guitar, the ES-150

1947 – P-90 single-coil pickup introduced

1948 – First dual-pickup Gibson, the ES-300

1949 – First three-pickup electric, the ES-5

1949 – First hollowbody electric with pointed cutaway, the ES-175

1952 – First Les Paul guitar

1954 – Les Paul Custom and Les Paul Jr. introduced

1955 – Les Paul Special introduced

1957 – First humbucking pickup

1958 – Flying V and Explorer introduced

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1958 – First semi-hollowbody guitar, the ES-335

1961 – SG body style introduced in the Les Paul line

1963 – Firebird guitars and Thunderbird basses introduced

1969 – Les Paul Personal and Professional with low-impedance pickups introduced

1979 – L.P. Artist with active electronics introduced

1982 – First solidbody acoustic, the Chet Atkins CE

1983 – Les Paul Studio introduced

1990 – Les Paul Classic introduced

1996 – Les Paul SmartWood introduced

1998 – Double-Cutaway Les Paul Standard introduced

2002 – Gibson Digital Guitar introduced

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A BRIEF HISTORY OF GIBSON ELECTRIC GUITARS

Gibson’s legendary acoustic engineer, Lloyd Loar, was experimenting with electric instruments

in 1924, at the dawn of electronic amplification. However, Gibson’s struggle to dominate the

banjo market took precedence through the 1920s, and it wasn’t until the mid-1930s that the

company once again turned its attention to electric guitars. In 1935 Gibson’s Walt Fuller

designed a pickup that was introduced on the E-150, an aluminum-body lap steel. Early in

1936, the pickup was put in a midline archtop model and named the ES-150—ES for Electric

Spanish, 150 for the retail price of $150 for the guitar and amplifier set.

The original ES-150 bar pickup with its hexagonal housing is now known as the “Charlie

Christian” pickup, because it was installed on the ES-150s and ES-250s that Christian used

to establish the new concept of electric jazz guitar.

Gibson made several improvements in pickup design before World War II, although many play-

ers still consider the “Christian” pickup to be the best jazz pickup ever made. Immediately

after World War II, Gibson introduced the P-90 single-coil, with six adjustable polepieces and

a black plastic cover, usually with “dog-ear” mounting extensions. The P-90 is still in produc-

tion and still sets the industry standard for a single-coil pickup.

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The first postwar Gibson electrics followed the prewar concept of an electric guitar as

a conventional acoustic archtop with a pickup installed on the top. Gibson added a second

pickup to the ES-300 in 1948 and then became the first company to offer a three-pickup

model with the introduction of the ES-5 in 1949.

Although the advantages of a solidbody guitar had been known to Hawaiian steel guitarists for

almost 20 years, it took the persuasive powers of Les Paul, the world’s most famous guitarist

in the early 1950s, to convince Gibson to make a “Spanish style” solidbody. Gibson designed

the new model with a carved top, not only to give it the look of a traditional archtop—a style

invented by Gibson—but also to make it difficult for other makers to copy. Les, who had been

playing a homemade solidbody guitar, nicknamed The Log, since 1941, specified a maple top

cap to increase sustain, coupled with a mahogany back to lighten the weight. Les also speci-

fied the famous “Goldtop” finish.

The Les Paul Model debuted in 1952. The bridge and tailpiece were upgraded when Gibson

introduced the patented tune-o-matic bridge in 1954, and the original single-coil pickups were

upgraded with the introduction of Gibson’s patented humbuckers in 1957. Otherwise, the orig-

inal Les Paul is essentially the same guitar today as it was when it was introduced.

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In 1954 the growing popularity of the Les Paul Model prompted Gibson to expand the line. On

the high end, the Les Paul Custom sported an Ebony finish and low frets for fast action, and

it immediately gained two nicknames: the Black Beauty and the Fretless Wonder. On the more

affordable end, the Les Paul Jr. featured a flat “slab” top and a single pickup, and it became

the best-selling Les Paul of the 1950s.

One year after the Les Paul Jr., Gibson offered a two-pickup version of the slab-body model

called the Les Paul Special. The Special was further distinguished by its yellow-stained “TV”

finish.

The double-coil humbucking pickup, invented by Gibson engineer Seth Lover, debuted in

1957 on the Standard and Custom, introducing the sound that would shape rock 'n' roll music

in the 1960s.

In 1958, Gibson introduced more important design innovations than in any other

year in the company’s history. Gibson president Ted McCarty combined the look of an ƒ-hole

archtop with the performance of a solidbody and came up with a completely new type of gui-

tar—the semi-hollowbody ES-335. McCarty also designed two radically modern solidbody

shapes: the Flying V and Explorer.

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The body of the Les Paul Jr. received a pair of rounded horns to become Gibson’s first double-

cutaway solidbody. And the finish color on the Les Paul Model was changed to Cherry

Sunburst, which let the grain of the maple top show through. The model name was changed

to Les Paul Standard, and the sunburst Standards from 1958-60 would become some of the

most valuable collectibles in the guitar world. All of this happened in 1958.

The new Les Paul Jr. set in motion a complete redesign of the Les Paul line. In 1959 the

Special went to the rounded-horn double-cutaway shape and was renamed the SG Special (SG

for Solid Guitar). In 1960, all four models were revamped and given a new “SG” body shape,

featuring a thinner, double-cutaway body with pointed horns. The Custom, Standard, and Jr.

retained the Les Paul designation through 1962, after which they became SG models.

Gibson’s design innovation continued into the 1960s when Ted McCarty hired legendary auto-

motive designer Ray Deitrich to design a Gibson. The result was the Firebird series, and the

companion Thunderbird bass series of 1963. The Firebirds “reversed” conventional designs,

with their elongated treble-side horn and treble-side tuners. They also introduced neck-

through-body construction and smaller “mini-humbucking” pickups to the Gibson line.

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In response to the rising demand for 1950s-style Les Pauls, the carved-top models were rein-

troduced in 1968. A new model, the Les Paul Deluxe, featuring mini-humbucking pickups

appeared in 1969. The Special was revived in the 1970s and the Jr. reappeared in the 1980s.

The Flying V, Explorer, and Firebird were also brought back into regular production, as musi-

cal styles began to catch up with these ahead-of-their-time designs.

While the original four Les Paul models continued as the foundation of the line, Gibson offered

new variations, such as the Studio, Classic, and Double-Cut Standard, in order to give musi-

cians all the features they wanted in a Les Paul guitar. In the 50-plus years of the Les Paul,

Gibson has offered more than 100 different variations. In 2003 Gibson honored Les Paul for

his achievements as a performer, recording innovator, and guitar designer by presenting him

with a special Artist for Eternity Award.

As Gibson celebrated the 50th anniversary of the Les Paul in 2002, the company rocked the

guitar world once again by introducing the first digital electric guitar. It represents the biggest

advance in electric guitar design since the instrument was invented, and moreover, it serves

notice that Gibson electric guitars will continue to epitomize the highest levels of Quality,

Prestige and Innovation.

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DESIGN AND CONSTRUCTION

Body. The solidbody guitar was invented to increase sustain, produce a brilliant tone, and

eliminate feedback caused by a vibrating top. These qualities are enhanced by wood with high

density, such as maple. Les Paul would have preferred for his model to have had a solid maple

body, but density translates to weight, and a solid maple Les Paul Model would have been exceed-

ingly heavy. A compromise was reached, with lighter-weight mahogany used for the main part of

the body and maple for the top cap. Most of the carved-top Les Pauls have the combination

maple/mahogany body, while the “slab” or flat top models have a solid mahogany body. Flying

V’s, Explorers, and Firebirds have a solid mahogany body.

Neck and Headstock. Mahogany is a time-proven material for guitar necks, and the necks of most

Gibson USA models are constructed of a single piece of mahogany. The Firebird or Thunderbird

IV bass neck is made of nine-ply mahogany and walnut (or all mahogany laminates), and it

extends completely through the body. Fingerboards are of ebony or rosewood.

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Neck Specifications. Gibson designs its guitar necks to complement and enhance the unique

characteristics of each model. Neck profiles can be “rounded ’50s” or “slim ’60s” (or a slight

V-shape available only on the BluesHawk). Scale length (string length) is 24 3/4" on the Les

Paul, X-Factor and SG models, 25 1/2" on the Chet Atkins, Americana, and Hawk models and

34" on basses.

Pickups. Humbucking (double-coil): Most Les Pauls have double-coil humbucking

pickups, which were designed to do what their name says: “buck” the hum caused by fluores-

cent lights, rheostats, and other electrical interference. They accomplish this with two coils of

wire, wound in opposite directions so that they cancel out interference. Also, they produce a

powerful sound that is the foundation of rock 'n' roll music.

Gibson produces humbuckers in a variety of subtle variations, achieved by the use

of different magnets and different combinations of winding turns. In addition, some Les Pauls

have humbuckers without the metal cover pieces, which results in a hotter signal. For individ-

ual model and pickup specs, please refer to Gibson’s website, www.gibson.com.

P-90 (single-coil): Only a few Gibsons—some Les Paul Juniors, Les Paul Specials, and Melody

Makers—have single-coil P-90 pickups. Some have the original “dog-eared” covers; those

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without the “dog ears” are nicknamed “soapbar” because the original cream-colored plastic

covers on the 1952 Les Paul Model resembled bars of soap. When the P-90 was introduced

in 1946, it was the most powerful pickup of its kind. And it still is. Among the many exam-

ples of the P-90 sound are Carlos Santana’s Les Paul Special on Santana’s classic recordings,

Leslie West’s Les Paul Jr. with the group Mountain, and the Who’s Pete Townshend with an SG

Special on Live at Leeds and at Woodstock.

Pickup adjustments. Although the pickups on each Les Paul are set to Gibson standards at the

factory, they can be adjusted. The height of the pickup can be adjusted by the two screws

found at either end of the pickup, in the mounting ring. Individual string volume can be adjust-

ed by turning the polepiece screws. Bringing the pickup or pole screw closer to the strings

makes the signal stronger or “hotter.”

Controls. The standard Gibson electronic configuration is two pickups, four knobs, and a pick-

up selector switch. The four knobs provide individual tone and volume control for each pick-

up. Models with only three knobs provide individual volume and master tone control. Single

pickup models have only two knobs—for volume and tone control—and no pickup selector.

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Volume controls: The two knobs closest to the fingerboard control the volume of the pickups.

The volume knob nearest the bridge controls the “front” or neck pickup; the knob nearest the

edge of the guitar controls the “back” or bridge pickup.

Tone controls: The knob or knobs farthest away from the fingerboard control tone. The tone

knob nearest the bridge controls the “front” or neck pickup; the knob nearest the edge of the

guitar controls the “back” or bridge pickup.

The tone controls are the “treble roll off” or “cut” variety. The tonal quality of the instrument

is darkened by the reduction of treble rather than the addition of bass. The tone control turned

all the way counterclockwise results in maximum reduction of treble and produces the “dark-

est” sound. The tone control turned clockwise to its maximum position allows the pickup’s full

harmonic frequencies to pass through, producing the guitar’s brightest sound.

Pickup selector switch: The selector switch has three positions. The up position selects only

the “front” or neck pickup. The down position selects only the “back” or bridge pickup. The

middle position engages both pickups. The tone and volume controls will only be active when

the corresponding pickup is selected. On models with three pickups, the selector switch

activates the front pickup (front position), the middle and back pickup together (middle

position), and the back pickup (back position).

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The Tune-o-matic Bridge. The Tune-o-matic bridge allows for adjustment in overall bridge height

and individual string length. Height is adjustable up and down by means of thumb wheels

under the bridge at either end. Each string saddle is adjustable forward and back with a small

standard screwdriver. Action adjustment (up and down) is set at the factory to the correct

height for playing comfort and for buzz-free action. Raising the bridge will result in stiffer

action; lowering the bridge will result in faster action but may also result in fret buzz. Climatic

or humidity changes, or changes in string gauge, may necessitate a bridge adjustment.

Any change—in bridge height, string gauge, or climate—can affect the intonation and cause

a guitar to play out of tune in some fret positions. When this happens, the string length needs

to be adjusted, and this is accomplished by moving the individual saddles forward (toward the

neck) or backward (toward the tailpiece). The screw heads are on the pickup side of the bridge,

although there are many Gibsons that have the screw heads facing the tailpiece. To check into-

nation, compare the pitch of a string that is fretted at the 12th fret against the harmonic at

the 12th fret (accomplished by touching the string lightly with the left hand, without pressing

it all the way to the fret). If the fretted note is higher than the harmonic, the string should be

lengthened by moving the saddle toward the tailpiece until the two notes are the same. If the

fretted note is lower than the harmonic, the string length should be decreased.

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The tune-o-matic bridge was designed to adjust for string changes (gauge or type) and other

physical changes but not for problems with intonation due to string wear. Should a string lose

its intonation due to wear, we strongly recommend changing the string and not the bridge

setting.

Adjustable Stopbar Tailpiece. The stopbar tailpiece may be adjusted up or down to change the

downward pressure across the bridge. There is usually no need to adjust the stopbar unless the

strings are moving out of the saddles, in which case the stopbar should be lowered.

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CARE AND MAINTENANCE

Finish. A Gibson instrument always attracts attention, whether it is on a concert stage before

thousands or on a guitar stand in a home studio. After the classic body lines of a Gibson, the

finish makes the strongest impression.

Perspiration acids, heavy fingerprinting, dust, and grime from on-the-job usage are unavoid-

able. However, a minute or two spent with Gibson’s instrument care products—guitar polish,

fretboard conditioners, string cleaner/lubricant, and polishing cloth—will restore a finish to

like-new condition.

Gibson’s nitrocellulose lacquer finish not only looks great, it is also easily repairable—by a

professional. Minor scratches and dings can be fixed without completely refinishing the

instrument.

Keeping Your Guitar on the Road. Your Gibson is a durable instrument. It is likely to outlive you—

if you take care of it. In determining whether conditions might be harmful to your guitar, the

rule of thumb is, if you are comfortable, then your guitar will be comfortable. Here are some

conditions to avoid.

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Heat and cold: Gibson’s nitrocellulose finish can expand or contract to adjust to extreme tem-

peratures and humidities—but not to sudden changes in temperature or humidity. Just as a

hot drink will crack a chilled glass, the finish of a Les Paul will crack if a guitar that has been

sitting in the trunk of a car in wintertime is suddenly exposed to the warm air of a heated room.

In these conditions, let the guitar warm up gradually inside the case before opening the case.

Rain: Water wipes off the instrument’s finish easily, but if allowed to remain, it can cause ugly

water spots in the lacquer.

Sun: Avoid direct rays of the sun on your Gibson. Direct sunlight can blister or discolor the finish.

More Things to Avoid. When using a shoulder strap for a standing playing position, check that all

contact points and strap fasteners are secure.

Guitar stands with rubber supports that contain dye or plasticizers can “eat away” at the lac-

quer finish or leave a stain on your guitar that goes through the lacquer finish and into the

wood. These stains are permanent and this sort of damage is not covered under your warran-

ty. We recommend covering the rubber parts of the stand with a soft cotton cloth (such as a

guitar polishing cloth) and using a guitar stand only for temporary “storage” of your instrument.

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Avoid sharp blows to any part of your instrument. Be particularly alert to possible blows to the

back of the headstock, machine heads (tuners), and in the neck heel area. Many headstock

breaks are the result of a guitar being knocked over or dropped while it’s still in the case, so

do not stand the case on its end.

Should major adjustments become necessary, contact your local authorized Gibson dealer or

service center.

Strings. Fresh strings are a vital part of that “new instrument” sound. When strings begin to go

dead, a guitar loses its edge, and as the strings undergo further wear and tear they go “dead.”

Your Gibson will sound its best with new strings.

How often should you change strings? That depends on how much you play your guitar, how

hard you play, and also on your individual body chemistry. Some professional musicians change

strings before every show in order to maintain the brightest edge on their sound. More casual

players may only need to change strings every month or two. For some players, even light per-

spiration shortens the life of their strings. The sound of the strings is the only sure way to judge

whether or not they need to be changed. And if one string needs to be changed, the others

can’t be far behind. To maintain tonal balance, change the whole set.

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When changing strings, we recommend changing one string at a time in order to maintain ten-

sion on the neck and bridge. The pressure of the strings holds the bridge and saddles in place,

and removing all the strings could necessitate a new setup.

Use high quality strings. The most obvious action you can take to maximize the life and per-

formance of your strings is to use high quality strings. Your Gibson comes from the factory with

a set of strings made by Gibson and designed exclusively for Gibsons. Although the string set

from the Gibson factory is suitable for virtually any style of music, Gibson offers a variety of

string styles and gauges for specialized purposes.

Install your strings correctly. Improperly installed strings can slip, which will cause your Gibson

to constantly go out of tune. To correctly install strings:

1. Be certain the first winding of the string around the machine head stem (tuner

post) goes over the exposed tip of the new string. The rest of the winding should

then go under the exposed tip of the new string. When pressure is applied by

tightening the string to pitch, a clamping action keeps the string from slipping

around the machine head stem.

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2. Be certain the string is wrapped around the tuner post an adequate

number of times. For unwound strings, at least five turns around the machine head

stem are necessary. For wound strings, two or three turns are adequate.

What gauge strings should be used? Your Gibson guitar comes strung with “10s”—which

means the high-E string is .010 inches in diameter. The low-E is .046 inches in diameter. The

set is designed so that all strings are in proportion to one another, ensuring that the action and

the volume will be consistent across the entire fingerboard. Gibson offers “9s,” “11s,” and

a variety of other gauges and compositions, all of which are balanced for consistent tension.

What brand of strings should be used? Gibson has been offering its own strings since 1907,

and Gibson has more experience than any other string maker when it comes to matching

strings to Gibson guitars. Gibson strings are manufactured to exacting standards to achieve the

highest level of quality and performance.

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NEW TECHNOLOGY - THE GIBSON ROBOT GUITAR

The Impossible is Now Possible.

Introducing the Gibson Robot Guitar, the world’s first guitar with robot technology.

Gibson’s Robot Guitar is the only guitar available with the auto-tuning system described

herein as original equipment.

Your Gibson Robot Guitar will be pre-calibrated for a standard .010-.046 set of strings.

If you change string gauges, restore factory defaults, or are installing the system yourself, you

may first want to calibrate the Powerheads individually using the calibration method as

described in the Setup Mode section of this guide. However, since each Powerhead is self-

regulated with a Dynamic Runtime Algorithm (DRA) which ensures the change of runtimes

according to each string, after several tunings the system will perfect itself automatically.

A special “eFunction” algorithm is provided by the software to assist the tuning process.

We recommend using it in the “enabled” mode.

This Owner’s Manual is intended to provide a working understanding of the Robot Guitar’s

features to bring you the greatest benefits as you explore the exciting possibilities it has to

offer. For questions or more in-depth technical information, feel free to contact us at

1-800-4GIBSON.

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THE MASTER CONTROL KNOB (MCK)

The Master Control Knob not only serves as the master control for all aspects of this

amazing, self-tuning system, but it will communicate with you as you learn its “language.”

The MCK is quite powerful and has many uses, and we believe you will find that MCK

functions will become second nature to you once you have tried them a few times.

Caution: Do not attempt to manually turn the Powerheads unless they are pulled away from the

peghead so they are in the disengaged position! Otherwise the Powerheads can be damaged.

BASIC OPERATIONS

The Robot Guitar’s Master-Control Knob (MCK) is what is commonly referred to as a

“push-pull” knob. When in the normal position, it behaves as a regular volume or tone

pot, depending on which series you have. When the MCK is pulled out, the system

is activated.

When the system becomes active by pulling out the MCK, it immediately places your

instrument in ‘Standard Tuning Mode’ at A440 (unless you have changed tuning defaults,

see page 46), but six factory presets have been provided for your use. Each preset can be

changed to your liking, but you can always restore the factory defaults as later described

in this Owner’s Manual.

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The MCK’s LED display will show various symbols and colors and these will be explained in

the various modes of operation available to you. During the tuning process, they will behave

as follows:

String LEDs Display Actions During Tuning Operations:

string not tuned = solid red

measuring frequency = red flashing

Powerheads turning = yellow flashing

signal clipping = solid blue

string frequency at extreme range = solid purple

individual string in tune = solid green

all strings in tune = all LEDs flash blue 3 times

During the tuning process, the guitar will be nearly 100 percent muted. After the MCK is pushed

back in, full volume returns.

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PRECAUTIONS:

• Never try to manually turn the tuning pegs on the Powerheads unless they are in the

disengaged position (pulled out and away from the peghead).

• Do not attempt to open the cover of the peghead electronics, the Powerheads, or the

body CPU as this will void your warranty.

• Do not ‘fret’ a string while attempting to tune the Robot Guitar. Strings must be ‘open’

for the system to function properly unless you are performing the intonation routine.

• It does not require much force to detect pitch and to tune each desired

string accurately and quickly. Strumming the strings gently will provide best results.

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GUIDE TO FUNCTIONS AND DISPLAY MODES DURING TUNING OPERATIONS

Function

MCK Position

Display LEDs

Action

Remarks

While you strum, Powerheads

start turning, individual

strings will shine green

when in tune, all LEDs will

flash blue 3 times when

tuning is complete. After

blue lights flash, push MCK

back in.

Instantly

Pull MCK out

All string LEDs

shining red

Strum all strings

gently

Activated Tuning

(440Hz, EADGBE

is factory default)

b and # shining red

E LED shining blue

Enter by pressing

the display once—

b, #, and all string

LEDs will shine red

See above

MCK out and turned

all the way down to “0”

(counter-clockwise)

Regular Tuning

440Hz, EADGBE

See above

Pull MCK out and turn

to E LED

E major Tuning

440Hz, EBEG#BE

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Function

MCK Position

Display LEDs

Action

Remarks

While you strum, Powerheads

start turning, individual

strings will shine green

when in tune, all LEDs will

flash blue 3 times when

tuning is complete. After

blue lights flash, push MCK

back in.

DADGAD Tuning

440Hz, DADGAD

Pull MCK out and turn

to A LED

A LED shining blue

Enter by pressing

the display once—

b, #, and all string

LEDs will shine red

See above

Dropped D Tuning

440Hz, DADGBE

Pull MCK out and turn

to D LED

D LED shining blue

G LED shining blue

See above

Delta Blues Tuning

440Hz, DGDGBD

Pull MCK out and turn

to G LED

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Function

MCK Position

Display LEDs

Action

Remarks

While you strum, Powerheads

start turning, individual

strings will shine green

when in tune, all LEDs will

flash blue 3 times when

tuning is complete. After

blue lights flash, push MCK

back in.

E Flat Tuning

440Hz,

EbAbDbGbBbeb

Pull MCK out and turn

to B LED

B LED shining blue

Enter by pressing

the display once—

b, #, and all string

LEDs will shine red

Double Dropped

D Tuning

Pull MCK out and turn

to e LED

e LED shining blue

See above

DADGBD

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Function

Display LEDs

Action

Remarks

Pull out (disengage) the

peg of the Powerhead

you choose to tune to a

reference pitch. Now

tune this string to

match your chosen ref-

erence. Push peg back

into engaged position.

Begin tuning your guitar

by pressing the display.

The letter “I” will shine

green and ALL string

LEDs will shine red.

Strum the SAME string you have just tuned to your

reference pitch. When this string’s LED shines solid

green its frequency has been measured and stored.

Now strum all strings, and the Powertune system will

tune your guitar to ‘normal tuning’ based on your

chosen reference string. (LEDs will behave the same

as during normal tuning.) When the reference tuning

is achieved, the “I” will flash on and off in blue.

Reference Tuning

(Tune to selected

reference pitch)

I LED shining red

Should you wish to store your new ‘Reference Tuning,’

simply turn the MCK to one of the factory preset

positions (E, A, D, G, B, or e) and press the display

once. The display LEDs will flash blue 3 times to

indicate your new Reference Tuning has been stored

at that position, and can be recalled in the same

manner as any other preset by choosing that position.

MCK Position

Pull MCK out and

turn to I LED

(Remember that you don’t have to “store” your new

Reference Tuning. Simply push the MCK back into

normal position and you are ready to go!)

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Function

Display LEDs

Action

Remarks

To create your own

”Custom Altered

Custom Altered

Tuning

When all strings of your Custom Altered

Tuning have been registered, the string LEDs

will flash blue 3 times. You may now store

your Custom Altered Tuning to one of the

factory preset positions. Select E, A, D, G, B,

or e, and press the display once. The display

LEDs will flash blue 3 times to indicate your

new Custom Reference Tuning has been

stored at that position, and can be recalled

in the same manner as any other preset.

Tuning,” disengage

each Powerhead of the

string required and tune

it manually to the pitch

you want. Then press

the display once, and

the Peg LED will shine

green and the string

LEDs will shine red.

Now strum all strings

one by one (do not

strum too hard!) and

when their frequencies

have been measured

and stored their corre-

sponding LEDs will

shine green.

MCK Position

Pull MCK out and

turn to Peg LED

(Remember that when you store your Custom

Altered Tuning, you will override the preset

position you have chosen.)

Peg LED shines red

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STRING UP / STRING DOWN MODES

Function

MCK Position

Display LEDs

Action

Remarks

String Up Mode

Pull MCK out and turn

to Revolving Arrow LED

Revolving Arrow and

# LED shine green

Activate String Up Powerheads will begin

Mode by pressing

the display for 3

seconds.

winding strings up

close to normal tuning.

When they stop turning,

activate Normal Tuning

mode to finish tuning

your instrument.

Powerheads will begin

to unwind all strings.

When they stop turning,

unscrew each post’s

locking nut so that you

are able to remove old

strings.

Revolving Arrow and

# LED shine green

Press the display

once and it will

toggle to String

Down Mode,

indicated by the

Revolving Arrow

switching from

green to red. Now

activate String

Down Mode by

String Down Mode

Pull MCK out and turn

to Revolving Arrow LED

pressing the dis-

play for 3 seconds.

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TO RESTRING YOUR ROBOT GUITAR

First ensure that all Powerheads are disengaged by pulling the pegs away from the peghead.

This is very important! Turn each peg so that the post-hole is roughly in line with each

corresponding string as it leaves the nut of your guitar.

Guide each string through your tailpiece, over the saddle (where contact is essential),

through the nut slot and then the post-hole as you would with any other guitar, but place a

slight amount of tension by hand before screwing each locking nut down tight. Cut the loose

end of each string close to the post so that they will not make contact with other strings, as

that would cause your system to function improperly.

Now you are ready to engage String Up Mode. MCK should be on the green revolving arrow

as described on the previous page. After the display is pressed for 3 seconds, all strings will

wind themselves close to their correct pitches, whereupon you must fine tune your guitar

using Normal Tuning Mode. (When all strings are removed, don’t allow the tailpiece to move or

it could damage its connector!)

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TO ACTIVATE STRING UP MODE FOR A SINGLE STRING

(as in the case of replacing a string broken while playing)

Install the string in the manner described above (remember saddle contact is crucial!).

Simply select the LED for the string you are replacing, turn to the green revolving arrow and

toggle it from green to red and back to green. Press the display for three seconds.

The Powerhead of the selected string will begin winding close to normal tuning, and when

it stops, you will be ready to fine tune it using Normal Tuning Mode.

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INTONATION MODE (ONLY GIBSON MODELS)

Before starting the Intonation Mode we recommend to perform Normal tuning 440Hz

Function

MCK Position

Display LEDs

Action

Remarks

I LED shining blue

Pull MCK out and turn

to | LED

Intonation Mode

Activate Intonation

Mode by pressing

the display for 3

seconds.

Strum one of the

strings until the

according LED

shines green.

For example, D.

After 2 seconds b

LED turns off and #

LED shines green

Pick the same

string now in the

12th fret and

strum it.

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Function

MCK Position

Display LEDs

Action

Remarks

Now a colored blink

code displays the

appropriate correction

for the intonation screw.

For example:

MCK is now in the

position of the string

you are intonating.

Intonation Mode

I LED shining blue

For each green LED

turn the screw half

turn clockwise

= 5 half turns

clockwise

For each red LED

turn the screw

half turn counter-

clockwise

For example:

= 6 half turns counter-

clockwise

Repeat Intonation

Mode for each string.

A correctly intonated

string is indicated by a

blue LED.

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Function

Display LEDs

Action

Remarks

Access Calibration

Calibration

Mode

C LED shines red

435Hz = C and E LED blue

436Hz = C and E LED blue, # LED red

437Hz = C and A LED blue

438Hz = C and A LED blue, # LED red

439Hz = C and D LED blue

440Hz = C and D LED blue, # LED red

441Hz = C and G LED blue

442Hz = C and G LED blue, # LED red

443Hz = C and B LED blue

444Hz = C and B LED blue, # LED red

445Hz = C and e LED blue

Mode by pressing the

display for 3 seconds.

The C LED will shine

blue. Now turn the MCK

to select your funda-

mental frequency from

the following list.

(Note: while selecting

your fundamental,

pressing the display

will toggle the red #

LED on and off, and

the other displayed

LEDs will remain blue.)

MCK Position

Pull MCK out and

turn to C LED

446Hz = C and e LED blue, # LED red

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PLEASE NOTE:

Once you have selected your desired fundamental, press the display down for three seconds.

Now choose a tuning and strum the strings. The Global Calibration Offset is applied to each

selected tuning.

To check the selected Global Calibration Offset, pull MCK out and press LED C for three

seconds.

Now a colored blink code displays the fundamental in Hz:

red = hundreds / green = tens / blue = ones / yellow = 0

Example 440Hz: 4 red LEDs, Pause, 4 green LEDs, Pause, 1 yellow LED

Example 436Hz: 4 red LEDs, Pause, 3 green LEDs, Pause, 6 blue LEDs, red LED Spin

(lower than 440Hz Concert Pitch)

Example 445Hz: 4 red LEDs, Pause, 4 green LEDs, Pause, 5 blue LEDs, green LED Spin

(higher than 440Hz Concert Pitch)

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SETUP MODE

The various important functions in Setup Mode can be accessed individually once Setup Mode is activated.

We will now describe how to enter and exit Setup Mode, and we’ll list the various functions it contains afterward.

Function

MCK Position

Display LEDs

Action

Remarks

Enter Setup

Mode

Pull MCK out and turn

all the way down to “0”

(counter-clockwise)

b and # shine red

Press display for 3 This is the first step to

seconds. When the Enter Setup Mode

display turns blue,

release the display

button. Now press

the display again

for 3 seconds. It

will flash 3 times

and stop. Now the

Peg LED will be

solid white, # and

b will be red. You

are now in Setup

Mode.

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Function

MCK Position

Display LEDs

Action

Remarks

Exit Setup

Mode without

saving changes

Push MCK back in

Setup Mode

switches off

You can exit Setup

Mode at any time

All outer LEDs will

flash blue-green 3

times

Exit Setup Mode;

saving changes

Dependent on Setup

Mode function last

utilized

Setup Mode

function applied

Your Setup Mode

function is now stored

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FUNCTIONS INCLUDED IN SETUP MODE

Function

MCK Position

Display LEDs

Action

Remarks

Restoring Factory Defaults will

do the following:

• Preset positions set to default

tunings

• Runtime Correction Data set

to default

Press display once

and Factory

Defaults are

restored

LED D shining blue,

Peg LED shines white

Restore

Factory Defaults

Enter Setup Mode and

turn to LED D

• Dynamic Runtime Correction

is switched on

• eFunction Correction is

switched on

• Tuning accuracy is set to 4

out of 6

• Calibration Data is restored

Press display once.

Peg LED will begin

flashing

Red=Major Release Number

Green=Minor Release Number

Blue=Revision Level

For Example, Software Release

2.3.5 would be shown as 2 red

flashes, followed by 3 green

flashes, followed by 5 blue

flashes

Peg LED flashing

sequence indicates

software release

edition

Display Software

Release

Enter Setup Mode and

turn to E LED and

press Enter

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Function

MCK Position

Display LEDs

Action

Remarks

Global

Calibration

Offset

Enter Setup Mode

turn to LED C and

press display once

LED C shining blue,

Peg LED shines white

Turn MCK left

When a Calibration

(Counterclockwise) Mode is in effect,

to switch off your selected

Global Calibration fundamental

frequency will now

On / Off

apply to all your

presets

red B LED

indicates OFF

Turn MCK left

(clockwise) to

switch on Global

Calibration green

LED indicates ON

Press Enter to

store

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FUNCTIONS INCLUDED IN SETUP MODE

Function

MCK Position

Display LEDs

Action

Remarks

Instantly

Activated

Last Tuning

Enter Setup Mode

and turn to LED

and press Enter

Turn MCK to I and

press Enter

Last Tuning is

activated on startup

Instantly Activated

Preset Tuning

Enter Setup Mode

and turn to LED

and press Enter

Turn MCK to one

of the Presets and activated on startup

press Enter

Select Preset Tuning is

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Function

Display LEDs

Action

Remarks

Press display once.

Current Speed /

Accuracy setting will

be indicated by

flashing green LEDs

(as described below)

Speed /

Accuracy

Settings

Pegs shines white,

A shines blue

The Powertune system is adjustable to a pitch

accuracy of .2 Cent. However, this will cause

tuning functions to take slightly longer, and in

live applications a relaxed accuracy is advisable.

There are 6 levels of setting. The factory preset

setting will show 4 green flashing LEDs, indicating

that you are using an accuracy setting of approx.

1 Cent, which is practical for most applications.

Relaxing this setting will cause the overall tuning

process to run at a faster rate, and this can be

useful in live applications. In the studio, you would

want the maximum accuracy measurable. In this

case, range will be changed and adjusted by

rotating the MCK. The high end of accuracy (.2 Cent)

is indicated by 6 green LEDs. The low end (i.e.,

fastest speed) is indicated by one green LED.

Even at the low end, accuracy of tuning is still

2.5 Cent! To store your chosen setting, press display

once. You will leave Setup Mode automatically.

MCK Position

Enter Setup

Mode and turn to

A LED

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FUNCTIONS INCLUDED IN SETUP MODE

Function

MCK Position

Display LEDs

Action

Remarks

Turn MCK left to

switch off DRC,

turn MCK right

(clockwise) to

switch on DRC

Press Enter to

store

# shines green when DRC

is on, b shines red when

DRC is off

# will be shining green

or b will be shining red,

G LED shines blue, Peg

LED shines white

Enter Setup Mode

turn to G LED and

press Enter

Dynamic Runtime

Control On / Off

Turn MCK left

to switch off

eFunction, turn

MCK right

# shines green when

eFunction is on, b shines

red when eFunction is off

# will be shining green

or b will be shining red,

B LED shines blue, Peg

LED shines white

Enter Setup Mode

and turn to B LED,

press display

eFunction

Correction

On / Off

(clockwise)

to switch on

eFunction

Press Enter to

store

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CALIBRATING POWERHEADS

The Robot Guitar will be pre-calibrated for a standard .010-.046 set of strings. If you change

string gauges, restore factory defaults, or are installing the system yourself, you may first want

to calibrate the Powerheads individually using the Motor Calibration Mode as described

below. Remember though, each Powerhead is self-regulated with a Dynamic Runtime

Algorithm that ensures the change of runtimes according to each string. After several tunings

the system will perfect itself automatically.

MANUAL CALIBRATION OF POWERHEADS

Enter Setup Mode and turn to LED I, press display. The Peg and I LEDs will shine white.

Now you are ready to calibrate any or all of your Powerheads.

First, turn the MCK to the Powerhead you want to calibrate (selected strings are indicated by

solid blue) and press the display once. Strum the string and it will begin to alternate between

flashing red and green. Pause a few seconds and strum it again. Repeat this simple procedure

while the Powerhead adjusts itself. When the LED for that string changes to the next string in

order, you know that the Powerhead you selected first is done. It’s that simple.

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CHARGING AND BATTERY INFORMATION

The Robot Guitar comes with a battery pack containing two rechargeable batteries.

A special charger is also included with the system.

The battery charge level is indicated each time you activate your system, as indicated below.

You may expect more than 200 tunings between charges. There is no need to open your guitar

to access any of the battery charging functions. When the system is enabled but inactive for

more than one minute, the battery will switch off automatically. A special protection mode

is built into the charging system, so always begin the charging process by connecting your

guitar cord to the charger last. Short patch cords are most effective during charging.

BATTERY LEVEL

Each time the MCK is first activated, it will indicate if charging is needed immediately by

showing the battery symbol flashing red.

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Function

MCK Position

Display LEDs

Action

Remarks

Now you will see a

For optimum performance,

you will want a charge

Your current charge

level will be displayed

for about 3 seconds.

The level of charge

will be indicated by

how many green LEDs

you see (betweeen

1 and 10).

Pull MCK out, turn to

C LED and press

display

Charge Mode

flashing red battery

symbol on the MCK,

indicating your system

is looking for its charger.

Plug in the AC power

plug of your charging

unit and the charger will

flash red, too. Connect

the charging unit to the

guitar with a standard

guitar cord, and when

the system begins to

charge, the charging

unit will flash green,

and a running display

of green LEDs on the

MCK will indicate

level of 8-10 green flashing

LEDs. A fully charged

battery pack will show a

solid blue light on the

charging unit and the

MCK’s display will switch

off automatically. Push

MCK back to its normal

position when charging is

complete. A full charge

should take no more than

90 minutes.

charge level. The

charging unit’s LED

will flash green, too.

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EMERGENCY CHARGE MODE

The system now has an Emergency Charge Mode (ECM) if its internal rechargeable battery

goes completely dead or too low in charge to run the normal Charge Function. Put MCK

in the C position. Plug your patch cable into the charging device and connect and plug

in the transformer. The charger will blink with a red LED (seeking a Guitar). When the

LED begins to blink yellow the charger can be connected to the guitar. The charger will

provide enough charge to make it possible to start the regular charging mode. The

condition of time to reanimate the charging mode is related to the state of battery-level

(approximately 10 seconds up to a couple of minutes). After ECM is completed, the

system runs in normal charge mode.

AUTOMATIC SWITCH OFF MODE

If the MCK is left in the ‘on’ position for more than 120 seconds, the system enters

Switch Off Mode, indicated by a flashing green light. After 30 minutes the system turns

into Standby Mode, indicated by a very slow flashing yellow light. You can re-activate

the system in either status by turning the MCK.

Note: It is recommended not to store the guitar with the MCK out, as this will fully drain the

battery eventually and Emergency Charge Mode must be employed.

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SHORT CIRCUIT WARNING

In the event of a short circuit from negative to ground (Strings E or A to D or G) the white peg

symbol will flash. This can be caused if strings are not trimmed properly at the headstock.If

the short circuit runs from B or hi E to D, A or low E, the peg will flash yellow. Check to

make sure no strings touch one another.

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A LIFETIME OF MUSIC

Your Gibson electric guitar is a lifetime investment. With proper care, it will not

only maintain its value as a top quality instrument, it will also continue to pay

musical dividends for generations to come.

Your investment in the world’s finest electric guitar is supported by the No. 1

Customer Service team in the musical instrument industry. To contact a Gibson

Customer Service Representative, call 1.800.4GIBSON or email us at

service gibson.com.

For more information on Gibson

products and accessories, please visit

www.gibson.com or call 1.800.4GIBSON.

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NOTES____________________________________________________________________________________________

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