Gibson’s most famous pickup is probably the humbucker, particularly the PAF series of the 1950s.

The Gibson USA P90s in this guitar, as opposed to Epiphone’s comparatively underpowered stock P90s found in lower-end instruments, use Alnico magnets, with a P90 R in the rhythm position and P90T in the neck. Its rosewood fingerboard has parallelogram pearloid inlays and a 1.68” nut. Its mahogany neck has a SlimTaper D-shaped profile for unparalleled comfort while playing, set to the body at the sixteenth fret as per the 1960s Casino’s specifications. This guitar features a 5-ply maple-and-birch hollow body with single-ply white binding around the body and neck.

It boasts a pair of genuine Gibson P90 dogear pickups and chrome hardware to finish its distinctive look. The Blak and Blu Casino comes in two variants, one with a Bigsby tremolo and the other with the trapeze tailpiece more commonly found on the 60s Casinos that Clark plays. Clark actually wanted to paint the guitar himself, but he opted to let the experts at Epiphone complete that particular job for him. The most distinctive feature of this signature model is its unique and self announce black and blue paint job, a direct reference to the name of his album. Once Gary Clark Jr’s debut album Blak and Blu became a massive hit, and he toured the world brandishing Epiphone guitars, it was only a matter of time before the manufacturer approached him regarding a signature model. See the full list of Gary Clark Jr guitars and gear below. In more recent years he’s also heavily played Gibson SG model guitars as well. has been a devoted player of his Epiphone Casino model guitars, which inspired his very own “Blak and Blu” Epiphone Gary Clark Jr. Whether he’s recording a punishing, fuzzed-out take on The Beatles’ “Come Together” for Zack Snyder’s Justice League, working alongside a rapper like Tech N9ne, or serenading audiences with his melodic, blues-driven guitar playing, Clark is one of the modern guitar’s true heroes.

Today with chart-topping singles and performances alongside the Rolling Stones under his belt, Gary Clark Jr insists on pushing the boundaries of the music he loves. Then there are those who take the blues and run it through all the genres it inspired, from rock and soul to hip-hop, and deliver a powerful, decisively modern vision for one of America’s only native art forms. There are others who supercharge the genre, propelling it forward with high-octane interpretations of the classics. There are blues guitarists who stay so true to tradition, remaining indiscernible from their heroes.

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