Gibson 70s Flying V Electric Guitar

The Gibson 70s Flying V: A Detailed Description.

 

The Gibson 70s Flying V, an electric guitar produced during a period of significant stylistic divergence within the instrument’s history, represents a fascinating case study in design evolution and market response. While the original 1958-59 models are often lauded for their radical aesthetics and pioneering spirit, the 70s iteration, characterized by distinct modifications and a broader production run, warrants a detailed examination.

Historical Context and Design Origins:

The Gibson 70s Flying V’s initial foray into the market was met with limited commercial success, leading to its discontinuation within a few years of its inception. However, the guitar’s unconventional, angular body shape and sonic potential resonated with a select group of musicians, primarily blues and early rock players. This niche appeal, coupled with a growing demand for vintage instruments in the late 1960s, prompted Gibson to reintroduce the Gibson 70s Flying V in the early 1970s.

The Gibson 70s Flying V, while retaining the core aesthetic principles of the original, incorporated several notable alterations. The most prominent of these was the shift in body construction. The original korina wood, prized for its tonal qualities and lightweight properties, was largely replaced with mahogany, a denser and tonally different wood. This change imparted a greater emphasis on midrange frequencies and increased the overall weight of the instrument.

 

Construction and Materials:

The mahogany body of the Gibson 70s Flying V, typically a two-piece or three-piece construction, contributed to a more substantial feel compared to its korina predecessor. The neck, also constructed from mahogany, was often set with a longer tenon, enhancing sustain and stability. The fingerboard, generally made from rosewood, featured 22 frets and a standard 24.75-inch scale length, consistent with other Gibson models. The neck profile varied throughout the decade, with some models exhibiting a slim taper design, while others retained a more rounded, 50s-style profile.

The hardware appointments of the Gibson 70s Flying V also underwent modifications. The original vibrato tailpiece, a complex and often unreliable system, was largely replaced with a simpler and more robust stop bar tailpiece.

This alteration improved tuning stability and simplified string changes. The bridge remained the standard Tune-o-matic design, allowing for precise intonation adjustments. The tuners, typically Kluson-style or Gibson-branded units, provided adequate tuning stability for most playing applications.

 

Electronics and Sonic Characteristics:

The electronic configuration of the Gibson 70s Flying V typically consisted of two humbucking pickups, a three-way toggle switch, and individual volume and tone controls for each pickup. The specific pickup models varied throughout the decade, with some models featuring Gibson’s T-Top humbuckers, known for their bright and articulate tone, while others incorporated higher-output pickups with a more aggressive sonic character.

The mahogany body and humbucking pickups of the Gibson 70s Flying V contributed to a warm, resonant tone with a pronounced midrange emphasis. The instrument’s sustain was generally excellent, owing to the set-neck construction and the density of the mahogany body. The tonal versatility of the Gibson 70s Flying V allowed it to excel in a variety of genres, from blues and rock to hard rock and metal.

 

Variations and Notable Models:

Throughout the 1970s, Gibson produced several variations of the Flying V, each with distinct features and specifications. The “Medallion” Flying V, released in 1971, featured a unique medallion inlay on the body and a limited production run.3 The “Flying V II,” introduced in the late 1970s, incorporated a maple top, adding brightness and clarity to the instrument’s tone.4 The “Flying V Artist,” designed in collaboration with Lonnie Mack, featured a unique vibrato system and a distinctive finish.

The 1975 Flying V, often called the “Natural” flying V, is a very common version. Its distinctive natural finish, and often a black pickguard, set it apart from other models. It also often had the T-top pickups.

 

Market Reception and Legacy:

The 70s Flying V, while not achieving the iconic status of the original 1958-59 models, found a dedicated following among musicians seeking a powerful and visually striking instrument. Its robust construction, versatile tone, and distinctive aesthetic appealed to a wide range of players, contributing to its sustained popularity throughout the decade.

The guitar’s association with prominent artists, including Marc Bolan of T. Rex, Michael Schenker of UFO, and Andy Powell of Wishbone Ash, further solidified its place in rock history. These musicians utilized the Flying V’s sonic capabilities to create distinctive and influential guitar tones, cementing its reputation as a formidable instrument.

In contemporary terms, the 70s Flying V occupies a unique space within the vintage guitar market. While not commanding the astronomical prices of the original korina models, it remains a highly sought-after instrument among collectors and players alike. Its relative affordability, coupled with its distinctive sonic characteristics and aesthetic appeal, makes it a compelling choice for those seeking a vintage Gibson with a unique history.

 

Analysis of Design Choices:

The shift from korina to mahogany in the 70s Flying V can be analyzed from both a manufacturing and a sonic perspective. Korina, while tonally desirable, was a more expensive and less readily available wood than mahogany. The use of mahogany allowed Gibson to increase production volume and reduce manufacturing costs. However, this change also altered the instrument’s tonal characteristics, imparting a warmer and more midrange-focused sound.

The replacement of the vibrato tailpiece with a stop bar tailpiece was a practical design decision aimed at improving tuning stability and simplifying string changes. The original vibrato system, while visually appealing, was prone to tuning instability and required specialized maintenance. The stop bar tailpiece, a simpler and more reliable design, addressed these issues.

The variations in pickup models throughout the decade reflect the evolving sonic preferences of musicians. The use of T-Top humbuckers, known for their bright and articulate tone, catered to players seeking clarity and definition. The incorporation of higher-output pickups, with a more aggressive sonic character, appealed to those seeking a heavier and more distorted sound.

 

Conclusion:

The Gibson 70s Flying V, a product of its time, represents a fascinating intersection of design evolution, market forces, and artistic expression. While diverging from the original 1958-59 models in terms of materials and construction, it retained the core aesthetic principles and sonic potential that made the Gibson 70s Flying V an iconic instrument.

Its robust construction, versatile tone, and distinctive appearance contributed to its sustained popularity throughout the 1970s and its enduring legacy in the world of electric guitars. The instrument stands as a testament to the ongoing evolution of guitar design, and the ability of a unique instrument to find its place in the history of music.