Gibson what does vos mean

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Thread starter Rock72 Start date Dec 12, Rock72 Member. Messages 1, Can someone explain the difference if there is any between these to for me? I assume you mean reissue? VOS is merely a finish option on Reissue guitars. Messages 24, Yes, VOS is something that got added later on to add an aged look. Some guys buff or polish the VOS to get it to a gloss. The Vintage Original Spec line of guitars have the exact same P. In addition, some early Gibsons had P90 pickups and were associated with early blues, jazz, and rock.

The P90s that these guitars have were known for their punchy mid-driven single coil sound and the Gibson Custom Shop uses of the same alnico magnets, gauge plain enamel wire, and the same hand-winding method to recreate these defining tones. As the name suggests, the Vintage Original Spec line is very true to the past even to its electronics.

The guitars use the same model potentiometers, bumblebee capacitors, and wiring that the authentic instruments have. The Vintage Original Spec line makes use of k potentiometers with linear taper which provides smoother predictable transitions in volume and tone as opposed to the audible taper in which the transition is more exponential and logarithmic. Named after their black, yellow and red striped exterior, bumblebee capacitors are best known among vintage guitar enthusiasts.

Bumblebee capacitors are of lower voltage than orange drop capacitors allowing them to have smoother highs and mellowed bass frequencies. This results for the tones to have clarity and consistent top end presence that suit well to the vintage output of the pickups. In order to accurately recreate the original Gibson look and feel, the luthiers at Gibson make sure that they use period-correct aniline dyes, wood fillers, and genuine finishes. The VOS line delivers classic gold-top, burst, and cherry finishes.

The VOS nitrocellulose finishes are applied and processed in a delicate way to give the guitars a rich, elegant, and gently-aged patina. They also use special methods to relic their guitars. The finish on their guitars are attentively processed and buffed to give the instruments a worn look. Dings and scratches are also carefully added to further give vintage mojo to the guitars.

The hardware of these instruments is also oxidized to give the appearance of decades of aging, right out of the shop. With the specially chosen wood and authentic materials used, paired with history-accurate pickups and electronics, these guitars never fail to bring out the legendary voices of the past.

Playability on these instruments are a blast from the past. The thin nitrocellulose lacquer allows the instrument to breathe and freely resonate. The nickel-plated parts are likewise mildly aged using a tarnishing process that adds real character - as if a '59 Standard needs more character! These small things make a lot of difference to fans of the early models and, whether they improve the instruments or not, they're all very welcome additions.

A more significant change to the Standard came in , with the introduction of jumbo frets. In , the term 'jumbo' really meant slightly wider and taller, and not the kind of railway sleepers we see on rock guitars today.

But it did mean the Les Paul's fingerboard - with the help of a neck slimmed down from the baseball bat of the previous year - was much more playable by those who used finger vibrato and string bends. History reminds us that this instrument found its way into the hands of players like Eric Clapton and Michael Bloomfield. With these guitars, they instigated the kind of sustain and distortion that we take for granted in rock and blues today.

This sound prompted huge demand for the instrument, but by that time it was unavailable new, Gibson having discontinued it in favour of the SG shape. That was the birth of the vintage guitar phenomenon, and the reason these Reissues exist at all. One thing Gibson hasn't done, and which true fans and collectors really wish they would, is re-introduce Brazilian rosewood fingerboards and Honduran mahogany backs and necks.

It looks like the usual Indian rosewood and probably Brazilian mahogany here. Of course, there are mammoth issues regarding protected species which both these timbers are and the certificates needed to export and import such wood, not to mention the moral dilemma faced by prospective purchasers.

This makes it hard to see a solution to this problem, but other manufacturers do it, so why not Gibson? It's what the buffs want, above almost everything else now. Quality-wise, it's a hard call with instruments of this price. Contrary to myth, Gibson guitars were never perfectly built and flawlessly finished. Gibson's Custom Shop has actually reinstated certain finishing methods that fly in the face of modern ideals.

For instance, it doesn't sand and buff the sides of the headstock to a perfectly flat finish, so it has a sort of end-grain 'orange peel' look. However, this was how they always were, and whether or not it's an anachronism too far, it's right for the guitar.