Albert King Gear Guide
A quick-reference table guide to Albert King's guitars, amplifiers and effects across key recording and touring periods.
King's famous left-handed, upside-down Flying V and heavy string bends defined his sound. Accounts of his amplifier models differ by period; pedal use was generally sparse.
Quick overview
| Category | Details | Era / use |
|---|---|---|
| Gibson Flying V “Lucy” | 1959 korina Flying V played left-handed and flipped over with conventional right-handed string order. | Signature guitar |
| Acoustic 360 bass amplifier | Solid-state bass amp used as an unusual guitar amplifier in some accounts. | Main amplifier reference |
| Sparse pedal use | King is not commonly associated with a large pedalboard; hands, guitar and amp do most of the work. | Key effect / technique |
Guitars
| Gear / reference | Details | Era / use |
|---|---|---|
| Gibson Flying V “Lucy” | 1959 korina Flying V played left-handed and flipped over with conventional right-handed string order. | Most famous Stax-era recordings |
| Gibson Flying V copies / replacements | Additional V guitars replicated the familiar feel and setup. | Touring backups |
| Custom Dan Erlewine Flying V | Custom instrument made for King with a large squared headstock. | 1970s performance era |
| Custom Bradley Prokopow Flying V | Later custom Flying V associated with his collection. | 1980s period |
| Upside-down string orientation | Low and high strings fall in an unusual physical order when the right-handed guitar is flipped. | Influences bend technique and feel |
| Heavy string bends | Wide pitch movement comes from hand strength and setup rather than effects. | Signature phrasing |
Amplifiers
| Gear / reference | Details | Era / use |
|---|---|---|
| Acoustic 360 bass amplifier | Solid-state bass amp used as an unusual guitar amplifier in some accounts. | Later touring |
| Acoustic 361 cabinet | Matched folded-horn cabinet associated with the Acoustic 360 setup. | Concert rig |
| Fender Super Reverb | Fender combo amp reported in selected setups. | Some performances |
| Solid-state amplification | Clean headroom preserves attack and volume at stage levels. | Later live rigs |
| Amplifier history caveat | King's rigs changed; sources vary on specific models and dates. | Avoid assigning one amp to every recording |
Effects and technique
| Gear / reference | Details | Era / use |
|---|---|---|
| Sparse pedal use | King is not commonly associated with a large pedalboard; hands, guitar and amp do most of the work. | Most recordings |
| MXR Phase 90 | An occasional phaser is reported in late-career equipment lists. | Selected late-1970s / 1980s use |
| Reverb | Room and amp ambience rather than a constant effect chain. | Venue / recording dependent |
| Volume control | Guitar volume and attack shape the amplifier response. | Dynamic control |
| Finger vibrato | Wide vibrato and bends supply motion that another player might use a pedal for. | Core of the style |
| Upside-down Flying V technique | String order and left-handed orientation create unusual reach and bend mechanics. | Distinctive playing approach |
Era and song guide
| Gear / reference | Details | Era / use |
|---|---|---|
| Born Under a Bad Sign (1967) | Flying V “Lucy” and a relatively direct electric blues sound. | Stax period |
| “Crosscut Saw” | Flying V lead tone with bends and vocal phrasing. | Stax recording |
| “Born Under a Bad Sign” | Flying V, amp sustain and dynamic control. | Live versions extend solos |
| Live Wire / Blues Power (1968) | Concert Flying V and high-volume amp setup. | Live album |
| Lovejoy (1971) | Flying V and changing studio / stage amplification. | Album period |
| “I'll Play the Blues for You” | Long sustained bends and subtle vibrato. | Amp response and technique are central |
| Late live recordings | Flying V, solid-state amp examples and occasional modulation. | Tour equipment varies |