The ESP Guitar Company

As one of the legendary icons of rock history, Glenn Tipton hardly requires an introduction. One of the twin-guitar tandem that created the highly-influential sound of British Heavy Metal in Judas Priest, Glenn joined the band in 1974 before the creation of their first album "Rocka Rolla". He has has remained an integral part of Judas Priest for the subsequent 42 years, all the way through their latest release "Battle Cry", the new live recording from Germany’s Wacken Festival that just came out in March 2016. It was an honor and a pleasure to speak to this knowledgeable and thoughtful gentleman who was one of the forefathers of metal as we know it today.

Glenn, welcome to the ESP family.
Thank you very much.

Do you recall exactly when you first heard about ESP Guitars?
To be honest, I can’t really recall. I obviously became aware of them at some point. I couldn't put a year on it.

What I can tell you is that when I went to the ESP headquarters in LA, I was surprised not only by the size of the operation but also how they managed to keep such a personal atmosphere, almost like a family. I was really impressed by the time and trouble they were taking to customize aspects of the guitars to suit each player's needs. I immediately understood why they are so successful. Nothing was too much trouble.

When did you first get your hands on an ESP? What was the experience like?
I think I'm right in saying that the first ESP I played onstage was an early electric-acoustic model that I used on the song "Diamonds and Rust". I really enjoyed it. It played so well, sounded great, and did exactly what I wanted on stage. It was practical, it was versatile, and I knew right away that, "These guys know what they're doing!"

What qualities are important to you when considering a new guitar?
It depends entirely on what I want the guitar for. I'm not a big collector of guitars. That having been said, I've acquired quite a few in over 40 years of playing. Sometimes you buy a guitar for its sound, or its looks, or for its history... who's owned them, and who's played them. But for stage work, I require a reliable tool. It's also about getting the sound on stage close to the sound in the studio. It doesn’t have to be perfect in that regard. It just needs to be close.

What I also look for is a guitar that's robust, reliable, and gets me through the show. I can assure you, my guitars have taken a beating on the Priest stages throughout the years, so they need to be tough! As far as guitars I record with, I've got many to suit different needs, and it's great to now have ESPs added to the armory.

Let’s talk about your LTD Signature Series GT-600.
Well, it has a full-bodied sound, and I was amazed at how natural it felt to play. Visually, it has a real attitude... black, red, and chrome works for me, anyway. I also love the feel of the neck. I don't like big, thick, broom handle necks. I find slender necks easier to play, and the GT-600 is already like an old friend.

The GT-600 features your EMG signature pickups. What kind of sound can people expect?
It's a difficult question to answer, because there are so many variables. It depends on the guitar players, what amps and effects they'll use, or what style of music they play. What I can say is, the EMGs made for me all responded to my setup beautifully. They sing. They are powerful, but they can be what you want them to be, and that's everything you can ask from a pickup... they scream with vengeance!

Judas Priest is still very much a vibrant band. Your new live album and DVD Battle Cry just came out, and it's excellent. Tell us about the upsides and downsides of playing live.
It's wonderful, apart from the travel, which can get to you. It's a lot better when we're in the tour bus, as opposed to flying around. You walk out of your hotel to the bus, and then off the bus to the venue. The whole aspect of flying, going through security… it can be an all-day thing, and when you have a show that night, you need to be rested and energized.

So the travel gets to me sometimes. I like my own home, my own bed. In other words, everything you can't get on the road. But when you walk onto the stage with Priest, our fans make it all worthwhile. When you hear that roar, you just become as one with the audience.

Touring is physically and mentally demanding for bands in their twenties. Have you adjusted to it over the course of time?
Yes. You get your own little routines and ways of dealing with each day. On the tour bus, for instance, you can crawl in your bunk and have a sleep, or watch a film, or Netflix, etc. You can go on the Internet and get business out of the way, when it works. I love to read as well. Sometimes we stop and have a snack. Or, when you're passing through beautiful places, go up front and watch the world go by. We have traveled the world and seen many wonderful sights.

What you do learn, though, is that you have to rest and time your day so that you reach your peak energy level for the show. That's the most important thing of all. What people sometimes don’t realize is that you have to go onstage every night despite being tired, or having the flu, or a bad cold, and strive to give a great performance. The audience and the adrenaline help you get through that, at least until the curtain comes back down.

You're part of one of the world’s great guitar tandems in Judas Priest. Many guitar players find themselves working next to another player in a band, and not everyone is able to find the space to do their own thing. What advice do you have for working with fellow guitar players in a band?
I think "healthy competition" are two words I've often used. Through the years that I've played with Ken and now Richie, particularly in trade-off leads, you have to play licks in answer to what's thrown at you, and trust me... that's what brings you on as a guitar player, but it's also about giving a song what's needed, as opposed to "see what I can play." It's about mutual respect and not being selfish. Although we have different styles, they blend together to form a very recognizable sound and at the end of the day, lead breaks should improve a song, not demolish it.

If you have the building blocks to be a great guitar player, and I've often said this: the most important thing I learned is that it's essential to have your own recognizable style. When I used to try and emulate my own heroes and influences such as Hendrix or Rory Gallagher — I could get close but couldn't quite play it the same. It was a revelation then when I realized, "If you only ever copy the greats, you're only doing what’s been done." Instead, if you just get inspired but do it in your own way, then eventually you’ll develop your own style and it's easier. You have to be dedicated, practice hard, and then learn to recognize you own characteristics and qualities, and to work on those.

It goes for the band as well. You need to be able to recognize when there's something special there, and to nurture and protect it, and realize the value. Then it's all about belief and perseverance.

Over the years, you've become a tremendously influential guitarist. Have you ever listened to something and recognize that the player or band is obviously a big Priest fan?
Yes, we often hear bands that have, in some way, obviously been influenced by Judas Priest. It's something I think you’ve got to be proud of, and take as a compliment. As a result, if along the way I've helped inspire guitar players and younger bands, it's all been worthwhile. It's an honor to have helped shape the music I love, which is heavy metal. If I've done that in any small way, then I've done my bit, and I'm a happy man.