GIBSON G-WRITER

Dread zone

The first of the electro models is the G-writer, and as mentioned previously this not only puts us into a longer scale, but the sloping curve of the G-45’s shoulders has been straightened out here. There’s black binding on both sides accentuating the outline, and the decoration continues with the understated-yet-modern looking fingerboard inlays.

If you’ve ever wondered what happens when you take a guitar with an almost identical spec (spare the visuals and slight outline change mentioned) and change the scale length then the jump from the G-45 to the G-writer is your guinea pig.

With very little else changed, there’s a notable difference in how the Writer responds to our playing. The tonality is smoothed out, and everything feels ever so slightly more spongy, in a good way. To our ears, it’s edging towards sounding more ‘studio’ overall, with a bit more of a squashy sound when you hit it hard. As with moving between the previous two guitars, there’s an increase in bass, which perhaps makes this less of a draw for pickers, but given its name, we’re imagining Gibson’s target for both the 45 and Writer are the same type of player.

Plugged in, the story is told pretty much the same way, with a faithful recreation with some added sparkly presence coming through our PA speakers and audio interface when we go direct. Which is just as well, as the only control is a single volume thumbwheel mounted under the soundhole. You can have more, or less, but you’ll need a separate EQ or command of whatever you’re plugging into to modify the sound.