Made in the USA in early 1980, the series Victory broke sharply with the style of the house, no more rounded shape around the handle, these are guitars that approach the look of the stratocaster, with a double notch and microphones that are fixed on the body, but, as with competition Fender on the pickguard, just like the buttons. The two models MV 10 and MV 2 are stringed together, they differ only in the mail. The MV 10 has two humbucking pickups, a sleeve, and a third bridge between micro named "Super Stack". The MV 2 has a microphone called "VELVET BRICK" in the neck position and a humbucking bridge position. The neck has 22 frets. The settings are simple, one volume knob, one tone knob, a selector switch and a micro-phase inverter. The design that is approaching Fender original. I find it beautiful.


UTILIZATION

The handle is worthy of vintage sleeves of the brand, although its dimensions are special. 427 mm wide at nut and 504 mm at the 12th fret. 189 mm thick in the first box reaches 244 mm in the twelfth. Freight board is 4600 mm long, the cargo is placed 22 th at 4500 mm from the nut. It is very comfortable.

Due to the double notch very deep, access to acute no problem until the 22 th case. The interface is really perfect, they were strong in Gibson, this guitar is a monument of comfort, both standing, seated. The body as the handle stuck in the traditional GIBSON, are maple, a dense maple that contributes to the achievement of a sound fantastic. But the quality of the wood used is not solely responsible for the resulting sound microphones ago
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SOUNDS

"MV" means "MULTI VOICES" because the engineers at Gibson have developed a micro revolutionary not only the famous "VEVELT BRICK" I mentioned the first chapter comes to reproduce the true sound of a vintage Les Paul 70 , but also through the phase inverter the sonic possibilities are multiplied. In my collection I have the two models, the MV 10 and MV 2. I do not like too much multiplicity adjustment, I play mainly on the MV 2, in the neck position and sometimes in between. I never put the knobs at the bottom, the volume is between 6 and 7 and between 4 and 5 tone (I like to play some serious ..). In this way I'm playing a bit of everything, the very thick Mister BIG (The price you got to pay) and through the phase inverter I can pick up on the ballad, in picking, which is located on the same disc ( Promise the World here) without changing the guitar. This micro Velvet Brick also excels in jazz, you can get sounds similar to those of its Polsfuss Lester Recording

OVERALL OPINION

With this instrument invented the guitar GIBSON "multifunctional" well before anyone else and there is no miniaturization is the real sounds produced by a passive electronics worked well. I got my Victory right out to 1982, I like innovation, they cost quite expensive substantially the same as a Les Paul, I bought them at a store that closed its doors and liquidate its stock, c ' That's why I got the two for the price of one, for me the price / quality ratio is exceptional. I see no point for improvement in the Victory, a splendid form that allows you to play GIBSON without looking like a sheep with his Les Paul (Although I also have guitars shaped Les Paul, but not expensive, I give priority to quality / price ratio).
To me it's a guitar that all collectors should have GIBSON. It was produced a few years during the Norlin. Period disparaged by purists as amalgams are made with average production in the violin as the Marauder, for example.
The Victory was the high end of the day, the guitars that were to win new market share. Today's collectors are still in splendid listed currently.
I believe these highly versatile VICTORY could also lead guitar for a musician not herd, who needs a sound LES PAUL VINTAGE and MORE by designing "MULTI VOICES".
For me this series is still very current as it can compete with the high-end USA at a price more reasonable.