Gibson has turned to one of the lesser-read pages of its history books for its latest collection of Certified Vintage guitars as it shines a light on its 1980s Superstrat era.
The Certified Vintage series showcases Gibson's forgotten guitars from times when the company deviated from its tried-and-true template. It was launched in 2023 and has since provided fans with the opportunity to get their hands on peculiar prototypes and archival pieces with pretty exclusive price tags to match.
Early drops included a 1961 Casino, an instrument long associated with the Beatles, and a semihollow 1967 Epiphone Rivoli bass, priced at $25,000 and $7,500, respectively. A second drop soon followed, offering a crash course in forgotten builds from the ‘50s right through to the ‘80s.
The latest collection continues that trend, with the one-of-one prototypes simultaneously serving as a reminder of when, in the face of the ‘80s shred-heavy guitar revolution, Gibson pivoted toward a lucrative — and, for them, uncharacteristic — market.
As the likes of Eddie Van Halen, Steve Vai and Jamie West-Oram changed the face of guitar playing across multiple genres, the Superstrat's stock reached dizzying heights, and Gibson's electric guitars weren't reflective of the times.
Players overlooked the chunky aesthetics of Gibson’s flagship Les Paul model in favor of sleek guitars with thin necks, versatile electronics and — thanks to Van Halen's guitar acrobatics — floating tremolo systems.
in response, Gibson bit the bullet and crafted its own Superstrat designs to muscle into the market.
The two models here that best reflect its attempts at sleek shredability are the 1986 Gibson US-1 and the Floyd Rose-loaded 1987 U-2.
The US-1 set its sets on seducing rock and fusion players, those swept up by the talents of EVH and Allan Holdsworth, among others, with a light-weight balsa-bolstered body at its heart and a headstock that would more likely be found on a Jackson.
The prototype offered features a poplar body with a maple top, 25.5-inch scale —unusual considering Gibson’s loyalty to 24.75-inch builds — and a HSS pickup configuration flanked with some atypical options. Each pickup has a dedicated on/off switch, with a push control on the master volume dial for extracting split-coil tones from the 'bucker in the bridge.
Its younger sibling, though, strays even further from Gibson's well-trodden path. With the U-2, Gibson sought to modernize its hardware offering via Grover tuners and that all-important Floyd Rose. The same electronics set up of dedicated pickup switches and split-coil tap transferred over. However, this time, the luthier opted for a basswood body.
A raised Flying V–style logo was chosen for its sharper scimitar headstock, while its all-black finish and hardware make it arguably one of the most archetypal metal guitars that Gibson has ever produced.
“So much of guitar playing in the 1980s was all about speed, precision, and high performance, all in a bold, eye-catching package,” Gibson’s Certified Vintage Manager, Mitch Conrad tells Guitar World of the new collection. “These Gibson models really embody that spirit and were designed to meet the needs of that musical moment.
“I think the wider scene of music in general, is so often a factor in our innovation,” he continues. “We’re always looking to create the best tools for musicians during their moment in time.”
A trio of its Q Series models from 1983 and 1984 also feature sleek double-cut body shapes. The ‘83 model stands out with a Dirty Fingers bucker amongst its HSS setup— and notably a return to Gibson’s preferred 24.75-inch scale— and a prototype Gibson roller bridge and tremolo system. The Q200 and Q300, meanwhile, experiment with P-90 pickups.
“Innovation is all about exploration,” Conrad adds, “testing ideas, refining designs, and landing on one path to move forward on. I think a natural part of that process is choosing the option that achieves the original goal.
“Whether these exact models will return, I can’t say — but Gibson’s legacy of design and innovation is always finding new ways to inspire the guitars we create today.”
History, of course, dictates that Gibson’s foray into shreddable Superstrats didn’t survive the decade. That said, Slash had almost single-handedly made the LP cool again by that point, sparing its blushes and letting the historic luthier focus on what it has always done best.
Head to Gibson to learn more about its latest Certified Vintage collection.
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