Welcome to this month’s edition of Shop Talk!
In this issue, we spotlight one of the most accessible paths to legendary tone—the Epiphone "Inspired by Gibson Custom" Les Paul Custom. From classic styling to upgraded hardware, it’s everything you love about Gibson without the price tag. Plus, we introduce you to Mark Rambler, a living legend with a guitar story you won’t believe and take a closer look at that often-overlooked tone-shaper: the humble guitar pick.
Off the Shelf: The Epiphone IGC "Inspired by Gibson Custom" Les Paul Custom
Who would say "No" to owning an authentic, top of the line Gibson Les Paul? Not me, nor anyone I have ever known. They are phenomenal instruments, which only have three potential drawbacks: scale length, weight, and most notably, price. How much are you willing to spend for the name on the headstock?
First, the standard Gibson scale length is 24.75", as opposed to the longer Fender scale length of 25.5". This dramatically lowers the string tension across the neck, enabling the use of heavier strings and easier bending. For players used to the Fender scale length, playing a shorter scale guitar can lead to pitch problems, but most players get used to it and even prefer it over the "fight" of a longer scale length.
Next, there's no getting around the weight of a Les Paul. They are heavy for the most part, perhaps explaining Jimmy Page's slouch back in the day. Some say that's part of the secret of the Les Paul's incredible sustain, so, unless you are not physically strong enough to wield the mighty Les Paul, you would benefit from having one.
Last, and most importantly, there's the price. Getting into a good Gibson Les Paul Standard is going to cost at least $2500, with many custom reissues costing well over $10,000! Scale length and weight aside, this is the main reason more guitar players don't have access to this iconic instrument--that is, until now.
Enter the Epiphone "Inspired by Gibson Custom" Les Paul Custom at $1299. This series affords a wealth of advantages for players who seek Gibson-style quality at a more affordable price. There are a host of benefits impacting every aspect of consumer wishes and needs.
The series features authentic Gibson styling, right down to the iconic headstock shape with the double diamond inlay, ensuring the aesthetics closely match their Gibson counterparts. The high-quality construction of these guitars includes the use of materials like mahogany, maple, and ebony to provide excellent tone and durability. The more affordable price point allows these guitars to deliver a premium playing experience at approximately half the cost of Gibson models.
They come equipped stock with custom upgraded components, so you won't have to replace the usual suspects within the first few months. All of the hardware is gold for a classic touch, highlighting the tuxedo look. The hand wired electronics feature CTS potentiometers, a Switchcraft output jack, and Mallory capacitors.
The Les Paul Custom also includes Grover Rotomatic 18:1 tuners and high-quality bridges, which afford better tuning stability and reliability than anything else anywhere near the price. Additionally, the Gibson USA 490R and 498T pickups ring out the classic PAF-style tones, delivering warm, articulate, and versatile sound, perfect for any type of musical situation. In short, they sound excellent and musical.
The vintage-inspired finishes are knockouts, featuring Alpine White and Ebony, both striking finishes that keep the inspirational bloodline pure. These Les Paul Customs feature a maple cap for extra brilliance over the mahogany bodies. Adding to this, features such as vintage-style tuners, multi-ply Gibson-styled binding, mother of pearl block inlays, and pickguards round out the classic aesthetics.
The neck profile is modeled on Gibson specs, a medium C shape, ensuring that it feels right and is, most importantly, comfortable for any hand size to play. The set-neck construction of the one-piece mahogany neck enhances sustain and overall resonance compared to any bolt-on design. The Gibson-style scale length, 24.75-inch, standard on most Gibson guitars, has been preserved as well, keeping the playability traditional.
If you love the iconic Gibson Les Paul and want an instrument that is built to withstand heavy use, retain its value, while delivering tone and playability on stage, at home, or in the studio for half the price, definitely check out the "Inspired By Gibson Custom" series by Epiphone.
If you’re dead set on owning a Gibson, you may still want the prestige of that brand for the slight tonal and build quality improvements and, of course, for the potentially higher resale value. If you have $2,500+ to spend, Gibson is an excellent choice. If your budget is under $1,300, Epiphone "Inspired by Gibson Custom" is hard to beat, especially if you want your answer to be "Yes" to owning an authentic instrument that is an absolute joy to play.
On the Staff: Introducing Mark Rambler, Lancaster's Own Metal Godfather
In the first half of the 1980s, youthful night energy pulsed through the streets of Lancaster PA. It was like something from the film American Graffiti, except the cars were newer, the hair was longer, and the music was far louder and heavier. Bands like Killerhit and Hybrid Ice dominated the hard rock scene, helping to keep disco in the ground for good, and if you were a guitarist, you were basically a made man; if you were the guitarist in a band like Killerhit, you were an absolute Godfather.
On any night at "The Loop," a set of four one-way streets in Lancaster, inexpensively fueled heavy American muscle rumbled around King, Queen, Clay, and Prince streets all night long, competing with the sounds of hard rock and the first wave of British metal pulsing from inside Camaros, GTOs, Mustangs, and Challengers. This is when the young ruled the night, often beginning with impromptu meetups in Long's Park and Park City's then-dim, seedy downstairs, and ending at popular nightclubs like the Old Colony Inn and Rick's Place.
Everyone knew each other and (for the most part) got along in the cultural counterclockwise swirl comprising these streets.
The soundtrack blasting to all this at full volume? Van Halen, AC/DC, The Scorpions, Judas Priest, Deep Purple, Iron Maiden, Motorhead, ZZ Top, Journey, and many, many more, a mere few breaths before thrash metal appeared. It's hard to imagine songs from bands like these being considered radio-friendly popular music, but they certainly were, and what a time it was.
This is mostly gone now, though, as Lancaster put up "No Cruising" signs in 1991, with a new law: "No cruising 3 times past this point within 2hrs. 7:00PM-3:30AM." Violation of this law resulted in fines from $50-$600, including the possibility of up to 90 days in jail. Cruising around, blasting hard rock music, and squealing your tires was (understandably) seen as a nuisance by local officials, so, after three decades, cruising came to a screeching halt, and hard rock gave way to grunge, with Seattle's music taking the forefront.
We still do have the influential music, though, and legendary guitarist Mark Rambler is around to tell the tales from metal's ground zero. We're fortunate to have him teaching here at Guitars on Main, but it's his students who are the most fortunate. There is no substitute for experience, and Mark is overflowing with it.
Being born into a family of musicians spanning many generations guaranteed that music would surround Mark from his first breath, and even the nine months preceding that he spent waiting to emerge into an unsuspecting world. Mark began his musical journey playing drums (fortunately for us, he switched to guitar at nine).
When he was five, he set up his drum set right outside the door where his brother’s band would practice a few nights a week. Surreptitiously, he played along, learning and mastering their entire set. As fortune would have it, the band needed a drummer to fill in for local gig scheduled at Lititz Springs Park.
Time was too short to produce another drummer, so he reluctantly agreed to let his little brother, Mark, play the gig. They played to a large, receptive crowd at the park, earning a standing ovation. Mark recalled, "That was my first time on stage. I knew then I wanted to be a rock star." This was his first transforming moment.
Once the bug bit, he played in a number of bands in middle school and high school but would hit his stride by joining an 80's band not long after finishing school. This band, including the famous Gioeli brothers (Johnny and Joey) became Killerhit, an act that played every weekend in New York, New Jersey, or Pennsylvania, developing a huge following.
Once, at a packed gig in New York where people were lined up for blocks to see them, Mark was playing a killer lead, standing at the front of the stage, when a flash pod went off right under him and set his hair on fire. He remarked, "Not one of my finer moments." However, he did notice early on that girls loved it, so it was obviously worth the occupational hazard!
Unfortunately, Mark's Cinderella story was suddenly rewritten, transforming him again, this time with a tragic back injury in his early twenties. This setback forced him to leave Killerhit, a band on the verge of superstardom. Then, his band of many years, as fortune would have it, moved to Los Angeles, changed their name to Hardline, and replaced the injury-sidelined Mark with Neal Schon of Journey. That, in itself, is a testament to Mark Rambler's playing that few can claim. Hardline enjoyed some top ten hits on nationwide rock stations, right before bands like Nirvana and Pearl Jam ushered in yet a new wave of music.
Down but not out, Mark kept the musical torch aloft after healing up by playing in a variety of bands: local groups such as Road Kill (thrash metal) and Love Infection (glam rock); Central PA bands like Citizen Cane (90's Rock), Looker, and Face First (90s rock); and more recently, a country band called Fastlane. Adding to his legendary status, Mark's very first gig with them was so successful that they won the WIOV Battle of the Bands, going on to open for a number of national country acts. To sum it all up, Mark said, "I really enjoyed playing with them." These days, Rambler can be found writing and recording songs in his studio.
How did Mark find all this success in music? Well, you could say that the centerpiece at the Rambler family table was the guitar. Mark's eclecticity in musical taste came from his family's immersion in great music. His father, mother, and older brother, like he, all played guitar. The guitar, in fact, chose him. His parents' classic country and rock influences like Roy Clark, Chet Atkins, Patsy Kline, Tammy Wynette, Glen Campbell, and Elvis, shaped him early on. Later, the influence of his older brother's music reads like a list of greatest bands of all time: The Beatles, The Monkees, The Byrds, Steppenwolf, Jethro Tull, The Grateful Dead, Don McLean, Cat Stevens, Jim Croce, Fleetwood Mac, Stevie Wonder, Elton John, Thin Lizzy, Led Zeppelin, Doobie Brothers, Yes, Alice Cooper, Uriah Heep, Edgar Winter, Steely Dan, Jimi Hendrix, Jeff Beck, Eric Clapton, Tommy Bolin, Robin Trower, etc.
Like many other teens in search of musical inspiration, Mark would spend time in local record stores, especially Stan's Record Bar, reading metal magazines in search of the next musical great white whale. Along the way, his encyclopedic tastes broadened even further, branching out into jazz, classical, blues, progressive, and fusion. He says of that time, "I was like a sponge back then and was a very quick study learning these different genres, which I feel shaped my playing style for many years to follow." Later, Yes, Styx, Kansas, Aerosmith, Queen, Black Sabbath, and of course, Van Halen's guitarist, Eddie Van Halen, further honed his ear.
When the 1980's hit, music had changed significantly. The first wave of European metal crashed onto American shores, and Mark was already riding that wave, teaching guitar at local shops, and being an early adopter of what would later be called 80's metal. He explains, "Stan (at Stan's Record Bar) used to special order albums for me that were not yet available outside of Germany. I subscribed to a German metal magazine called Kerrangthat had stories and photos of emerging artists in the German metal scene, so I had to buy the albums to hear the music."
Now, his most important influences, early Scorpions with Uli Roth, Michael Schenker, and Matthias Jabs, alongside Randy Rhoads, Gary Moore, Al DiMeola, Joe Pass, Django Reinhardt, and Yngwie, took center stage in his listening. He continues, "I’ve always seemed to have a sixth sense for trends in music and have enjoyed being at the forefront of every new generation of music." These days, Mark listens to Paco de Lucia and Joscho Stephan, more incredible players. "I love seeking out new artists and new music," Mark continues, "I still listen to all the old classics, but most of my time is spent on the eternal quest for something new."
If you're looking for something far beyond the traditional music school guitar lesson, check out Mark Rambler's teaching style. His philosophy is to work smarter, have fun, and find the simplest way to play what you want to play, alaOccam's razor. He explains, "On the guitar, there are limitless ways to play the same notes, song, or progression. I always try to find the simplest way to produce the sound I’m trying to replicate or even improve it, if possible, in the process." Of course, he will take a more structured approach to a student who wants or needs it.
Mark firmly believes in a trained ear, so once his students learn the basics, he moves them toward learning a few songs they want to learn, even if parts of the song are slightly out of reach. With an attention to detail he fostered by returning to school in his mid-thirties, he chunks it into manageable parts and sets a curriculum where productive work toward a measured goal is achievable. Doing it this way, he says, "Helps break up the monotony of learning chords, scales and music theory, and it helps students begin to develop an understanding of how these tools are applied to create and play music."
After a successful career in technology, Mark retired early to be a caregiver for his parents, where he found the time to focus on his own music and apply the skills he had used in his technology profession, always writing and recording songs in his studio. If you want to check out Mark's style, he posts videos every few weeks on his YouTube channel. He always takes time to learn and has the desire to challenge himself to continue to grow, the two attributes he expects from his students, in a symbiotic relationship of perpetual learning.
Mark Rambler has two bits of advice for any musician. First, play with your eyes closed, learning to truly hear and feel the music. This might not be for beginners, it can be a game-changer for those with enough experience to try it. Next, he explains, "Never give up and don’t fight it. We are unique members of the human race. We’ve been given the greatest gift. If you have it don’t squander it, share it, you will be a happier person. If you love music, let it rule your life. I do, every day."
My advice? Come study guitar with Mark Rambler. On your way, take a lap around The Loop for old time's sake.
On the Bench: How to Select a Plectra Style, or How to Pick a Pick
How we touch guitars goes a long way to producing--or detracting--from the tone we seek. Guitarists do not have much choice in their fretting hand interactions, but with many different types of materials, thicknesses, and shapes, guitarists have so many choices in tone production with their picking hand. Of course, players who choose to play sans plectrum or with hybrid picking have the choice of fingernails, fingertips, or fingerpicks. The rest of us "regular pickers" simply have to choose the right tool for the job.
Material
These critical points of human interaction with the instrument are often downplayed or simply overlooked due to a lack of awareness. Different types of guitar picks (also called plectra) vary in material, thickness, shape, and size, each affecting your tone, technique, speed, and comfort. Below is a breakdown of the most common types, with their advantages and drawbacks, starting with the pick material.
Celluloid
Celluloid picks have a classic feel, largely because they have been used since the early 1900's. Their smooth feel, flexibility, and warm tone have secured this material as a go-to for many guitarists over the years. They are currently available in many colors and thicknesses, tailoring to even the most discerning pickers.
These benefits come as a cost, though. Celluloid tends to wear down quickly, becoming brittle over time as they can age prematurely. Some players are repelled by the slippery feel of this material as well. Fortunately, though, they're not expensive, nor hard to find.
Nylon
Nylon, as a material, is super flexible, both in its composition and its usage. It's great for strumming, and has a warm, round tone on the strings. As a material, it's far grippier than celluloid, especially when it's offered with molded patterns.
Nylon is not for everyone, though. Hard picking players, or those looking for a heavy attack should look elsewhere, as nylon can feel too soft and flimsy for lead player.
Delrin or Tortex (Dunlop Tortex)
Since the 1970's Delrin picks have replaced tortoise shell picks with an ever-growing base of popularity among players. Their durability makes them outlast both celluloid and nylon, affording the player with a long-lasting pick. Players love the matte finishes which provide better grip than other materials. Many prefer the bright, punchy attack from a Delrin pick.
Some guitarists have complained that they are too stiff or dry feeling, especially compared to celluloid or nylon. Furthermore, this material can become very slippery if paired with an excessively sweaty-handed player.
Ultem or Ultex
Like Delrin picks, Ultem is extremely durable, with the potential to outlast all the previous materials, giving the player a healthy, long life. They have a clarity unmatched by other materials, producing an articulate tone for players with the picking hand chops who require note clarity. This material is excellent for faster picking, economy picking, string crossing, and sweeping, affording a precision like no other.
Ultem is not for strummers, though. The material is too rigid to break the plane of the strings without feedback on the strumming hand. This if often referred to feeling too "clinical." Additionally, this material lacks the warmth of celluloid or nylon.
Acrylic
Acrylic picks are the creme de la creme of the plectrum world. They provide excellent grip, especially when the surfaces are polished. Beveled edges provide momentum to the picking hand, breaking the plane of a string, especially when picking at a 45-degree angle. These picks are best suited for the "virtuoso" styles: jazz, fusion, and shredding because they produce much more tonal clarity than other materials.
As a bonus, these picks can often be personalized with words and logos. Companies like Gravity Picks and V-Picks provide this service as an upcharge. The customization options come with a heavy, but worthwhile, price tag. That, however, is the only major disadvantage to acrylic; it's more expensive than all the other materials. Like Ultem, acrylic is not for strummers, and some players even report an odd harmonic produced on wound strings.
Thickness
With all the available materials, knowing which thicknesses work best with different types of playing is just as vital.
Thin
Thin picks are generally 0.5mm or thinner. They are flexible and forgiving, making them perfect for strumming chords. Their lack of mass produces a brighter and lighter tone, but thin picks are utterly useless for any type of serious lead playing, as the lag time for the pick to rebound eliminates any chance for precise picking. Additionally, thin picks of any material break or warp more readily.
Medium
Medium picks are often between 0.6 – 0.8 mm thick, which makes them far more versatile than thin picks, good for both strumming styles and some basic lead playing. Their balanced tone and feel make them a jack of all trades, but not a master of any one, as they're still too flimsy for articulate picking and noticeably thicker for effortless strumming.
Thick
Thick picks range from 0.9 mm–1.5 mm+ and can easily be 3mm thick! These picks are great for lead playing, fast alternate picking, economy picking, sweep picking, and string crossing. This is literally no waiting for the pick to rebound into shape with super thick picks (2.5mm and up). The increased mass striking the strings produces a powerful tone and full sounding notes. These picks are not for strumming, as they can feel clunky crossing the strings. Finally, thick picks require much more control from the player, which, again, is rewarded instantly.
Shape
Finally, shape is also important, as it govern where the pick sits between your thumb and fingers and how much real estate the pick inhabits in your picking hand.
Standard (351 Fender Shape)
The standard pick shape, also known as the Fender shape, is a classic that's widely available. It's rather difficult to avoid this omnipresent pick, as its probably available on the moon! Standard picks are a great fit for most hand sizes, but they might not be precise enough for more advanced picking techniques.
Jazz III
The Jazz III shape is characterized by two prominent traits: it's very small and very pointy. The often-beveled point offers absolute precision and speed, but, when the point is gone, those special powers are gone, too. Most lead-type guitarists and shredders will love this pick shape, despite its shortcomings, which are notable. The miniscule size takes time to get used to and requires flawless technique. Also, the Jazz III is not for strumming at all!
Teardrop
The teardrop shape has been time-tested and proven in the ranks of Nashville pickers. These players favor its lightning-fast attack on the strings and the bright tone it produces. Hybrid pickers appreciate the smaller profile, while jazzers who don't acclimate to the Jazz III enjoy the merging of a standard and jazz pick shape in the teardrop. Like the Jazz III, this pick style, especially on the thicker side, can be less forgiving for beginning pickers.
Triangle
These large picks are easy to grip, maintaining maximum surface area on the thumb and fingers. Even thinner triangle picks can have a longer life as the player can often rotate to the next available edge when one is worn out. Triangular picks are perfect for rhythm guitar or even bass guitar when a pick is needed. Because of their size, this pick shape often feels too bulky for any type of precision in lead guitar playing.
For What It's Worth
Next time you're at the shop, take a look at the following picks from Clayton. I played 3.00 Jazz III's for decades, making the switch to custom acrylic Jazz III-type picks from V-Picks and Gravity Picks almost 15 years ago. Last year, I found a Clayton pick at the shop and fell immediately in love with it; I've been using Claytons exclusively since then: they're thick, comfortable, stiff, sharp, beveled, textured, and inexpensive at just $4.99 for a pack of six.
Check out these three plastic picks from Clayton, available here at Guitars on Main:
- Clayton S Stone Jade 2.00mm Standard Sharp: if you have never used a thicker, pointier pick, this one would be the first to try.
- Clayton S Stone Jasper 2.50mm Standard Sharp: my new go-to pick that does everything I want it to do, except for strumming full chords, of course.
- Clayton S Stone Opal 3.00mm Standard Sharp: an incredible pick, that, with the grip indents, feels much narrower than it actually is.
In Closing
From budget-friendly Les Paul alternatives to the legendary journey of Mark Rambler, and the overlooked impact of the perfect pick—this month’s newsletter reminds us that tone, technique, and inspiration come in many forms. Whatever stage you're at, keep exploring, keep playing, and stay inspired.
