After initially trying to outsource the pickup design to Chicago’s Lyon & Healy (who did end up making the matching amplifiers), Gibson relied on its own employee Walter Fuller to devise the now renowned Bar Pickup.

The 1937 EH-150 set pictured has features consistent with the middle of that year.

The top companies, Martin and Gibson, first began supplying separate devices to place on the nut to raise the strings high enough to play in Hawaiian style, but eventually designed specific guitars devoted to Hawaiian playing.

I initially took the EH-150 amp to him, but he said he did not feel comfortable in taking on the project.

I appreciated his candor, but I am very thankful for the referral to Time Electronics.

This new type of Hawaiian guitar could be heard more easily, with notes and chords sustaining effortlessly.

Rickenbacker’s “Frying Pans” went almost unnoticed by Gibson until 1935, when sales shot high enough for Gibson to think it was worthwhile to try one of its own.

Gibson’s short-lived first attempt at an electric Hawaiian followed Rickenbacker’s lead and had a metal body.

The metal body had tuning issues, and didn’t fit Gibson’s classic look, so by 1936 the EH-150 (the guitar and amp set cost 0) had a maple body and neck finished in Gibson’s traditional dark sunburst.

This is true even when using the same guitar with the same pickup selection blend, and the same tone and volume settings.

As you put it, each has its own sonic identity or sonic signature.

Thanks too for checking out and repairing my 1948 Gibson BR-6 amp which had gotten busted up pretty bad.

I was originally referred to you by a well respected amplifier/guitar technician located in North Carolina.

These include a headstock with a pearl Gibson logo and split diamond inlay (no inlay the previous year), multi-ply top and back binding (from single-ply top binding in 1936), back attached with screws (glued on by 1938), and a bar pickup with multi-ply binding (became a U-magnet pickup in 1938).