No tiene desperdicio. Interesante lo que opina este hombre sobre la Firebird X:
"everything we heard sounded as though it came from one of those tiny handheld micro-processer/headphone amps, like those made by Zoom and Korg."
Se parece a lo que dije yo en su día en este mismo hilo :
Yo la veo más como un pack de guitarra + zoom 505.
Y sobre por dónde está llevando el Señor J a la compañía Gibson:
"During these trying economic times, instead of developing exorbitant, overpriced, computerized guitars (not to mention tribute models that most potential buyers will never be able to afford, such as the $9,000 Randy Rhoads Tribute Les Paul), what Gibson needs to do is put its energy back into doing what it used to do: create timeless guitars, not futuristic ones, and offer them for prices that, if not low, are at least fair. Instead of flooding the racks of retail stores with watered-down versions of the classic models, such as the current crop of cheapened, hollowed-out Les Pauls mass produced on the assembly line (for the same prices previously designated to the hand-built models), these inferior instruments should be properly labeled and priced as "entry level" or "discount," not passed off to unsuspecting buyers as the real thing."
También me ha gustado el comentario que hace sobre la gete de la Custom Shop, a los que define como un grupo de artistas anónimos con gran talento, alma de Gibson y continuadores de las tradiciones de la compañía.
"If there is any hope for Gibson's future, it lies not in its current bombastic leadership, not in its global mass production assembly line factories, but in the hands of those at the little Gibson Custom Shop, where a supremely talented group of master craftspeople continues to painstakingly and lovingly create instruments in the best tradition of Gibson. [...] These anonymous, humble folks represent nothing less than the soul of the company."
Y en este parrafo da a entender que el Señor J es un pretencioso por su presentación y por creerse un revolucionario:
"The type of revolution brought about by the Gibson Les Paul could never have been announced or predicted in this manner. I don’t get the sense that the late great Les Paul (the man) introduced the Les Paul guitar for "revolution" as much as innovation. I can’t picture the warm, self-deprecating Les publically destroying another instrument to make his point. It was the sounds created on the Les Paul over a period of decades, and the musical movements associated with them, including Les’ own country and jazz mix in the '50s, Peter Greene’s electric blues in the '60s, Jimmy Page’s psychedelic textures in the '70s, Randy Rhoads' classically influenced metal in the '80s and Slash’s bluesy, thematic solos in the '90s which, in combination with the design of the Gibson Les Paul, would one day be looked back upon as revolutionary."
, vaya telita 
Espero que Gibson haya pagado cara esa publicidad de "teletienda" 
