Vintage Advance AV3P

Gibson's ever-strong influence means very few such six-string semis dare to deviate from the equal-cutaway concept. The company themselves explored an alternative avenue during the '70s via the offset-cutaway Les Paul Signature, which was essentially a re-jigged ES-335, but it attracted little real interest. Debuting two years ago, Gibson's Vegas semi offers a more adventurous variation by offsetting the waist, as well as both horns, on a downsized body. It appears to have provided the design inspiration for a few less-expensive equivalents, one being the Antoria Detroit, reviewed earlier this year, while the Vintage Advance AV3P also treads a similar stylistic path.

Introduced in 2006, the Chinese-origin Advance series lives up to its name by taking this UK brand more up-market, via upgraded components and innovative thinking from design whizz Trevor Wilkinson. Recently added to the range, the AV3P represents his revised slant on the slimline semi theme, incorporating some suitably novel ideas.

The body shape and dimensions may depart from the norm, but the back-angled headstock is the same as that on other Vintage variants, being a multi-wave-topped interpretation of Gibson styling. The machine heads are Wilkinson-branded Kluson copies, complete with 'thistle' buttons in white plastic, rather than the more usual 'instant vintage' green-tinted type, and the black face bears an appropriate AV logo.

The lightly radiused rosewood fingerboard is neatly bound and features 22 medium-gauge frets, all beautifully finished. The nut is cut to an equally impressive standard, and it would be nice to think that all examples will come so well set up. The glued-in mahogany neck combines a shallow-ish C-shape profile with mainstream measurements that foster an instant 'at home' feel, and playability is excellent.

The body maintains the mahogany theme, with a solid centre section of the same timber, while the top is maple, faced with suitably flamed veneer for a more deluxe look. On the review example, all woodwork is finished in a high-gloss, Translucent Cherry Red, contrasted by cream binding on the body's front edge and around the twin F-holes, but the AV3P also comes in Vintage Tobacco Sunburst.

The offset outline provides a distinctive image, and angling the waist seems to have resulted in a better-balanced, less bottom-heavy load. The diminished dimensions certainly engender a correspondingly more compact feel, and although the AV3P is weightier than appearances might suggest, it's easy to manhandle.

The pickup configuration is another obvious feature that sets this semi apart from most of its contemporaries. In keeping with the AV3P designation, this model comes equipped with a trio of Wilkinson's black-covered, P-90-style stacked humbuckers. It's a pity these aren't tilted to correctly match string slope because, although this doesn't really affect performance, it looks so much better. It must be said that Gibson is equally guilty of such sloppy cosmetics, but some makers do manage to align their pickups properly.

The controls seem conventional enough, although there's one less knob than usual, with the three-way selector where a fourth knob might be sited. However, a single volume is partnered by Wilkinson's Roll Control, a novel feature found across the Vintage Advance series, which dials between dual- and single-coil sounds. The tone pot is positioned slightly apart and incorporates a push/push switch that adds the centre soapbar to any selection, thus providing virtually all possible permutations, apart from the middle pickup on its own.

The slimline bridge springs no such surprises, being based on the early Gibson Tune-o-matic type, complete with a wire retainer to keep the six saddles in place during string changes. The accompanying stud-mounted tailpiece is equally traditional and Gibson-influenced. Unusually, the upper strap button is located on top of the left horn, while the output jack is side-mounted, and neatly integrated into a well-secured, recessed cup that provides a reassuringly firm foundation.

Despite making the aforementioned various departures from tradition, Wilkinson and Vintage have still not dared to go as far as providing access to the electrics through the back of the body. Just because Gibson, in 1958, chose to make life hard for themselves and semi owners, five decades further on we STILL have to extract and insert pots, switches and sockets by threading them through F-holes or pickup routs. What is SO wrong with having a hole on the back for this purpose? It would make manufacture easier and faster, as well as ensuring that future maintenance or mods are similarly simple. Why keep repeating past mistakes? Are players really as reactionary as makers seem to think? We've waited long enough: we want easy access and we want it now! End of rant, now back to the review!

Pushing on the tone pot brings in the middle pickup, and the resulting combined choices have a Fender-ish, out-of-phase flavour. Backing the Roll Control right off to the single-coil end enhances this character, and the sounds become decidedly more Strat-like.

With the middle pickup out of the mix, the standard three selections take on a snappier edge. The neck pickup now has a lean twang that's distinctly Gretsch-like, while the skinnier bridge setting has perhaps the least character. Switching both of them on, however, yields a Tele-like tone that's ideal for country. All sounds work well clean or with added drive via the amp, and in either context the AV3P seems more than able to serve up something that should suit most playing styles.

The volume control is strictly on or off, with only the first quarter-turn having any effect and making no discernible difference thereafter. The Roll Control works in the same sudden-death way, switching from single- to dual-coil mode immediately after the initial twist. In contrast, the tone pot is much more gradual in operation, allowing some subtle changes in texture.