With its set neck and maple-on-mahogany body, the Gibson Nighthawk was still
much structurally and aesthetically a Gibson. But certain key aspects of the
Nighthawk design took it into Fender Territory. The slanted bridge humbucker had
less gain than the regular Gibson humbucker and had a bright, sharp tone, closer
to that associated with Telecasters and Stratocasters. The mini-humbucker neck
pickup had a mellower and warmer tone than the bright bridge pickup, closer to
the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
much structurally and aesthetically a Gibson. But certain key aspects of the
Nighthawk design took it into Fender Territory. The slanted bridge humbucker had
less gain than the regular Gibson humbucker and had a bright, sharp tone, closer
to that associated with Telecasters and Stratocasters. The mini-humbucker neck
pickup had a mellower and warmer tone than the bright bridge pickup, closer to
the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
The Nighthawk extended the Gibson Dream to previously unimaginable dimensions
by providing working musicians with an "Every guitar" - one guitar for every style of
music, built with Gibson quality, design and technology.
by providing working musicians with an "Every guitar" - one guitar for every style of
music, built with Gibson quality, design and technology.
The Nighthawk made one of the most successful debuts of any model in Gibson
history, winning the top design award from The Music Trades magazine at the 1993
National Association of Music Merchants show.
history, winning the top design award from The Music Trades magazine at the 1993
National Association of Music Merchants show.
The Nighthawk brought a new look and feel to the Gibson line, but most importantly,
its unique pickups and electronic system offered electric guitarists a broad new
spectrum of sounds. As Gibson celebrated its Centennial in 1994, the Nighthawk and
the guitars of the Hawk Series served as a bridge of innovation into a second century of
success for Gibson.
its unique pickups and electronic system offered electric guitarists a broad new
spectrum of sounds. As Gibson celebrated its Centennial in 1994, the Nighthawk and
the guitars of the Hawk Series served as a bridge of innovation into a second century of
success for Gibson.
The level of innovation represented by the Nighthawk has been a Gibson trademark
since 1894, when Orville Gibson first carved the top of a guitar into an arched shape.
The Gibson company invented such industry- standard items as the height-adjustable
bridge, the adjustable truss rod and the humbucking pickup. But, by the mid-1980s,
Gibson was failing financially as well as in its attempts at innovation.
since 1894, when Orville Gibson first carved the top of a guitar into an arched shape.
The Gibson company invented such industry- standard items as the height-adjustable
bridge, the adjustable truss rod and the humbucking pickup. But, by the mid-1980s,
Gibson was failing financially as well as in its attempts at innovation.
When Henry Juszkiewicz and David Berryman took over Gibson in 1986, the
company was in shambles. In rebuilding, they focused on Gibson's strongest traditional
models. Innovative efforts were aimed in the same direction, as R&D head J.T. Riboloff
developed a successful series of historic reissues.
company was in shambles. In rebuilding, they focused on Gibson's strongest traditional
models. Innovative efforts were aimed in the same direction, as R&D head J.T. Riboloff
developed a successful series of historic reissues.
Gibson Cherry Nighthawk
By the early 1990s, Gibson was healthy again, re-established as a formidable force in the marketplace with its
reputation for quality restored and sales growing. Now it was time to re-establish Gibson as a leader in innovation with
a vision that would lead the guitar industry into the future. In Gibson's R&D lab, Riboloff set about fulfilling that vision
with a completely new electric guitar-one that would handle all a guitarist's needs.
reputation for quality restored and sales growing. Now it was time to re-establish Gibson as a leader in innovation with
a vision that would lead the guitar industry into the future. In Gibson's R&D lab, Riboloff set about fulfilling that vision
with a completely new electric guitar-one that would handle all a guitarist's needs.
Starting with a traditional Gibson single-cutaway style, Riboloff widened the body, opened up the cutaway and
extended the scale length to 25 1/2". For new sounds, he designed three new pickups. A slant-mounted humbucker
combined three different magnetic materials and produced a higher output than standard-design pickups. The classic
Gibson Firebird mini-humbucker was revamped to utilize both Alnico and ceramic magnets for a warmer sound. And a
new single-coil design produced twice the output of conventional single-coil pickups. With coil tapping, as many as 10
different combinations were available. Optional pickup configurations, vibrato units and ornamentation guaranteed
that every guitarist could find just the right Nighthawk to fit his style.
extended the scale length to 25 1/2". For new sounds, he designed three new pickups. A slant-mounted humbucker
combined three different magnetic materials and produced a higher output than standard-design pickups. The classic
Gibson Firebird mini-humbucker was revamped to utilize both Alnico and ceramic magnets for a warmer sound. And a
new single-coil design produced twice the output of conventional single-coil pickups. With coil tapping, as many as 10
different combinations were available. Optional pickup configurations, vibrato units and ornamentation guaranteed
that every guitarist could find just the right Nighthawk to fit his style.
Gibson unveiled the Nighthawks in January 1993 and they garnered immediate
recognition from the industry, winning the top design award from The Music Trades
magazine. Guitarists, ranging from studio musicians to stage performers, adopted
the Nighthawk for its versatility, playability and good looks. Less than three years
later, the BluesHawk joined the Hawk Series, bringing new electronics designed for
blues players but embraced by a variety of stylists. In 1999 the Little Lucille was
added to the range.
recognition from the industry, winning the top design award from The Music Trades
magazine. Guitarists, ranging from studio musicians to stage performers, adopted
the Nighthawk for its versatility, playability and good looks. Less than three years
later, the BluesHawk joined the Hawk Series, bringing new electronics designed for
blues players but embraced by a variety of stylists. In 1999 the Little Lucille was
added to the range.
1993 Maple-on-Mahogany Nighthawk
CLICK ON PIC FOR VIDEO REVIEW
OF THE GIBSON NIGHTHAWK
OF THE GIBSON NIGHTHAWK
With its set neck and maple-on-mahogany body, the Gibson Nighthawk was still much structurally and aesthetically a
Gibson. But certain key aspects of the Nighthawk design took it into Fender Territory. The slanted bridge humbucker
had less gain than the regular Gibson humbucker and had a bright, sharp tone, closer to that associated with
Telecasters and Stratocasters. The mini-humbucker neck pickup had a mellower, warmer tone than the bright bridge
pickup, closer to the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
Gibson. But certain key aspects of the Nighthawk design took it into Fender Territory. The slanted bridge humbucker
had less gain than the regular Gibson humbucker and had a bright, sharp tone, closer to that associated with
Telecasters and Stratocasters. The mini-humbucker neck pickup had a mellower, warmer tone than the bright bridge
pickup, closer to the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
With its set neck and maple-on-mahogany body, the Gibson Nighthawk was still much structurally and aesthetically
a Gibson. But certain key aspects of the Nighthawk design took it into Fender Territory. The slanted bridge
humbucker had less gain than the regular Gibson humbucker and had a bright, sharp tone, closer to that associated
with Telecasters and Stratocasters. The mini-humbucker neck pickup had a mellower and warmer tone than the bright
bridge pickup, closer to the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
a Gibson. But certain key aspects of the Nighthawk design took it into Fender Territory. The slanted bridge
humbucker had less gain than the regular Gibson humbucker and had a bright, sharp tone, closer to that associated
with Telecasters and Stratocasters. The mini-humbucker neck pickup had a mellower and warmer tone than the bright
bridge pickup, closer to the sound of the neck pickup in a Stratocaster than the regular Gibson humbucker.
The middle pickup, which was only on available on some Nighthawk models, is a single-coil design almost identical
to the middle pickup of the Stratocaster and so sounds quite similar. The scale length of the guitar (the length of the
string between the nut and the bridge) was the standard length used by Fender, 25½", rather than the normal Gibson
length of 24¾". This important difference, increasing the tension for a given gauge of strings, made the guitar feel
more like a Fender from a playing perspective and added to the tonal similarities. The smaller-than-normal Gibson
body was closer in mass to a Fender guitar than a typical Gibson Les Paul and the string-through-body bridge is
similar to the system used on Telecasters.
to the middle pickup of the Stratocaster and so sounds quite similar. The scale length of the guitar (the length of the
string between the nut and the bridge) was the standard length used by Fender, 25½", rather than the normal Gibson
length of 24¾". This important difference, increasing the tension for a given gauge of strings, made the guitar feel
more like a Fender from a playing perspective and added to the tonal similarities. The smaller-than-normal Gibson
body was closer in mass to a Fender guitar than a typical Gibson Les Paul and the string-through-body bridge is
similar to the system used on Telecasters.
The NightHawk series of guitars - which were the first Hawks - were launched in 1993 & discontinued in 1999. The
BluesHawk was launched in July 1996 and discontinued by Gibson in Spring 2006. The Hawk series guitars were
designed by JT Riboloff - who has since moved on to designing at other guitar companies.
BluesHawk was launched in July 1996 and discontinued by Gibson in Spring 2006. The Hawk series guitars were
designed by JT Riboloff - who has since moved on to designing at other guitar companies.
* WristRock wishes to thank and acknowledge the sources of the above information: Rolling Stone Magazine, Gibson.com, History of
Guitars in Pictures, Wikipedia.com, and YouTube.com.
Guitars in Pictures, Wikipedia.com, and YouTube.com.
Link to Gibson.com
