Fact-checked by Grok 2 weeks ago

Ted McCarty

Theodore "Ted" McCarty (October 10, 1909 – April 1, 2001) was an influential luthier, , and in the industry, best known for his transformative at the during its golden era from 1948 to 1966, where he pioneered numerous iconic designs and innovations that shaped and music. Born in , and raised in , , after the early death of his mother, McCarty graduated with an engineering degree from the in 1933. He began his career in the music business at the Wurlitzer Company in 1936, working in retailing for 12 years before joining Gibson in 1948, becoming vice president in 1949 and president in June 1950. Under his stewardship, Gibson's annual production surged from 5,000 to over 100,000 instruments, sales increased by 1,250%, profits grew fifteenfold, and the workforce expanded from 150 to 1,200 employees, solidifying the company's dominance in . McCarty's design innovations included the bridge and stop tailpiece (patented in 1952), the humbucking pickup developed with in the early 1950s to reduce feedback and hum, and collaborations with guitarist to create the seminal Les Paul solid-body in 1952. He also spearheaded the development of groundbreaking models such as the ES-175 archtop, Les Paul Goldtop and Custom variants, Junior and Special singles, the futuristic Flying V and Explorer (both unveiled in 1958), the semi-hollow ES-335 (1958), the angular (1961), and the , often in partnership with automotive designer Ray Dietrich. In 1965, McCarty acquired Bigsby Accessories Inc. with partner John Huis, managing the tailpiece manufacturer for two decades until his retirement after leaving Gibson in 1966. In 1986, he was recruited as a by Paul Reed Smith for the emerging company, where he mentored the founder on production techniques, factory operations, and design—drawing from his experience relocating Gibson's facilities multiple times—and influenced the creation of the McCarty model, launched in 1994 as a to his legacy. McCarty's patents and visionary approach not only revolutionized construction but also earned him enduring recognition as one of the most impactful figures in 20th-century manufacturing.

Early Life and Education

Birth and Family Background

Theodore "Ted" McCarty was born on October 10, 1909, in , . He was the son of Jane Edmindson (Jennie) Milsom, who died when McCarty was three years old, leaving limited details available about his father's identity or profession. McCarty had an older brother, approximately five years his senior at the time of their mother's death. Following this loss, the two brothers relocated from to , , where they were adopted and raised by their great-aunt Nora (McManama) Wrampelmeier and her husband Fred.

Engineering Education

Theodore McCarty attended the University of Cincinnati's College of Engineering, completing a five-year program that culminated in his in 1933 with a degree in commercial engineering. This curriculum, blending technical principles with commercial applications, furnished McCarty with foundational expertise in mechanics and manufacturing processes essential for subsequent advancements in design and production.

Career Beginnings

Work at

Ted McCarty began his professional career in the musical instrument industry in 1936 upon joining the Rudolph Company, leveraging his recent from the as a qualification for entry-level business roles. Initially hired as a for Wurlitzer's stores, McCarty quickly progressed through administrative positions, starting as an and advancing to merchandise manager, where he oversaw for the company's diverse lineup of instruments. By the mid-1940s, he had risen to director of purchasing for Wurlitzer's division, a supervisory role involving and to support the distribution of manufactured products such as pianos, organs, and early electric instruments like jukeboxes. In this capacity, McCarty contributed to operational efficiencies in 's retail network, which complemented the company's manufacturing efforts in acoustic and emerging electro-acoustic instruments during the pre- and post-World War II era. His tenure at , spanning until 1948, provided foundational experience in the business aspects of production and sales, honing skills in and quality oversight that would inform his later career.

Transition to Gibson

After 12 years at , where McCarty developed expertise in the business aspects of musical instruments, he left the company in 1948 and was recruited to help revive Gibson amid its post-World War II struggles. In March 1948, McCarty was hired by Maurice Berlin, president of Chicago Musical Instruments—the parent company of Gibson—as a consultant to address Gibson's financial losses and production inefficiencies in . He began work on March 15, 1948, with a mandate to investigate and resolve operational challenges stemming from the wartime slowdown in guitar production. This positioned him to apply his engineering acumen directly to Gibson's revival, leading to his formal appointment as in 1949. From 1948 to 1949, McCarty's responsibilities centered on production oversight and design coordination, where he restructured management, boosted employee morale, and collaborated with longtime Gibson to overhaul processes. By reorganizing tools, dies, and fixtures, he adapted Wurlitzer's efficient techniques to Gibson's guitar operations, enabling a rapid post-war production ramp-up. These efforts yielded quick results, with the achieving profitability by May 1948 and the resignation of the prior general manager later that year.

Leadership at Gibson

Rise to Presidency

McCarty joined Gibson in March 1948 as , bringing valuable expertise from his 12 years at the Company, where he had managed of musical instruments. His rapid ascent continued when he was promoted to executive in June 1949, a role that positioned him to oversee key operational aspects of the company during a period of recovery. In June 1950, McCarty was promoted to president after successfully turning around the company's operations amid Gibson's post-World War II challenges, including production delays and the need to reestablish manufacturing after wartime material shortages. The company, still rooted in traditional acoustic archtop guitars, faced intensifying competition in the burgeoning market. One of McCarty's first strategic moves as was to prioritize the and production of electric guitars, aiming to challenge Leo Fender's innovative solid-body designs like the Telecaster, which had gained rapid popularity since its 1950 launch. This shift helped Gibson adapt to evolving musical demands and consumer preferences in the post-war era.

Business Expansion

Under Ted McCarty's presidency beginning in 1950, Gibson experienced significant operational growth, with annual production expanding from approximately 5,000 instruments to over 100,000 guitars by 1966. This surge was driven by the rising popularity of electric guitars amid the post-war music boom, enabling the company to scale operations efficiently while maintaining quality standards. Staffing levels at Gibson also grew dramatically during this period, increasing from 150 employees in 1950 to over 1,200 by the end of McCarty's tenure in 1966, which supported the expanded manufacturing capacity and new facility additions totaling over 330,000 square feet. Financially, saw sales rise from under $1 million annually to $15 million, with profits multiplying fifteenfold, reflecting robust demand and effective management. To capitalize on market opportunities, McCarty implemented strategies such as leveraging celebrity endorsements, notably partnering with guitarist in the early by offering him a $1 royalty per guitar sold under his name, which boosted brand visibility and sales. Additionally, Gibson adapted to the burgeoning rock 'n' roll demand by introducing affordable models like the Junior and Special targeted at younger players, while using trade shows to gather dealer feedback and refine offerings to compete with rivals like . These efforts positioned Gibson as a leader in the market during the and .

Innovations in Guitar Design

Hardware Developments

During his tenure at Gibson, Ted McCarty spearheaded the development of the bridge, an adjustable design that addressed intonation issues in electric guitars by allowing individual saddle adjustments for each string. Introduced in 1953 on the and refined for the 1954 Custom, this bridge featured a thumbwheel adjustment and nylon saddles for precise tuning stability, significantly enhancing playability over previous fixed bridges. McCarty filed for the in 1952, receiving U.S. Patent No. 2,740,313 in 1956 for the "Bridge for Stringed Musical Instruments," which described its mechanism for independent string spacing and elevation. McCarty also directed the creation of the humbucking pickup, known as the P.A.F. (Patent Applied For), to eliminate electrical in amplified guitars. Tasked with reducing 60-cycle noise from single-coil pickups, engineer developed the dual-coil design under McCarty's oversight, wiring the coils in series but out of to cancel while preserving signal strength. Gibson applied for the in 1955, with Lover receiving U.S. No. 2,896,491 in 1959 for the "Magnetic Pickup for Stringed "; early versions debuted in 1957 on models like the Goldtop, delivering fuller tone and quieter performance. The ABR-1 variant of the bridge, introduced in , further refined McCarty's design with a pressed-in base and retained saddles, improving sustain and tonal clarity through better string-to-body contact. This iteration became a standard on Gibson electrics, boosting overall playability by minimizing string slippage and enabling consistent action across instruments.

Solidbody Guitar Models

Ted McCarty played a pivotal role in the development of Gibson's first solidbody , the Model, introduced in 1952. As Gibson's president, McCarty collaborated closely with musician to refine the prototype, incorporating a solid body topped with a carved cap for enhanced resonance and durability. This design marked a significant evolution from earlier semi-acoustic models, prioritizing sustain and feedback resistance in a compact, single-cutaway form. In , McCarty spearheaded a bold push toward modernist aesthetics to compete with Fender's innovations, resulting in the Explorer and Flying V models. The Explorer featured sharp, angular contours crafted from korina wood, emphasizing a futuristic with an extended lower horn for balance during play. Similarly, the Flying V adopted an arrowhead shape, also in korina, to create a striking visual and ergonomic profile that prioritized upper-fret access. Both models utilized set-neck construction but introduced radical body shapes that influenced rock and genres. By 1961, McCarty oversaw the redesign of the line into the (Solid Guitar) series, aiming for a lighter, more affordable solidbody option without sacrificing tone. The adopted a double-cutaway body with a slim-taper , facilitating faster playing styles and broader appeal among emerging guitarists. This model retained the solid construction but shifted to a sleeker, pointed-horn profile that became iconic for its versatility. McCarty's influence extended to the Firebird series launched in 1963, where he commissioned automotive designer Ray Dietrich to create a pointed, reverse-body shape in with a multi-ply top. Notably, the Firebird introduced to Gibson's solidbody lineup, with the neck extending fully to the body end for improved sustain and stability. This innovative build, combined with the model's aggressive contours, positioned the Firebird as a high-performance instrument for lead players.

Semi-Hollow and Experimental Designs

During his tenure at Gibson, Ted McCarty spearheaded the development of the ES-335 semi-hollowbody , introduced in as a solution to the issues plaguing traditional hollowbody models under high amplification. The design incorporated a solid center block extending from the neck joint to the tail block, encased within a laminated body with hollow wings on either side, allowing for the warm, resonant of an combined with the sustain and resistance of a solidbody. McCarty envisioned this hybrid construction to bridge the gap between the two body types, stating that he aimed to "mix the two" tones for a more versatile instrument suitable for , , and emerging rock styles. The ES-335 often featured McCarty's earlier bridge for improved intonation and sustain. In parallel with his work on semi-hollowbodies, McCarty explored experimental designs that pushed the boundaries of guitar and , most notably the Moderne prototype sketched in 1957. This futuristic, slab-bodied shape was part of a trio of radical patents McCarty filed that year, alongside the Flying V and Explorer, intended to modernize Gibson's lineup in response to Fender's growing influence. Although four to five prototypes were reportedly built—primarily from and displayed at trade shows—the Moderne never entered due to uncertain market reception and production challenges, remaining a rare and legendary "lost" design until limited reissues decades later. McCarty's innovations extended to experimental electro-acoustic guitars, exemplified by the CF-100E, introduced in 1951 shortly after he assumed presidency at Gibson. This model featured a cutaway on a small-bodied flat-top acoustic with a solid spruce top, X-bracing, and an early pickup, marking one of the first cutaway acoustics designed for amplified performance and sharing structural elements like the neck profile with McCarty's emerging solidbody electrics. Throughout the and , McCarty oversaw further non-solidbody electrics, including refinements to the ES series hollowbodies like the ES-175 and ES-125, which incorporated upgraded electronics and body laminations to enhance projection and reduce acoustic feedback in live settings. These efforts reflected his broader philosophy of blending acoustic warmth with electric reliability, influencing Gibson's transition toward versatile thinline models.

Later Career and Mentorship

Post-Gibson Roles

McCarty retired from the presidency of Gibson in June 1966 after nearly two decades of leadership that significantly expanded the company's operations and product lines. Immediately following his departure from Gibson, McCarty, along with Gibson Huis, acquired the Bigsby Electric Guitar Company in 1966 and relocated its operations from to . As president of Bigsby, McCarty oversaw the production of tailpieces and other guitar accessories, drawing on his prior experience in instrument manufacturing to maintain and enhance the company's output. During the late and , McCarty focused on improving manufacturing efficiencies at Bigsby amid increasing competition from imports, which were eroding demand for U.S.-made guitar hardware; to adapt, he diversified the business around 1969–1970 by expanding into the production of Flex-Lite specialty lighting products for applications such as and automotive uses. He continued leading Bigsby until selling it to in 1999, just before his death in 2001.

Influence on Paul Reed Smith

Ted McCarty's post-Gibson consulting work in the guitar industry paved the way for his involvement with , where he served as a key mentor to founder Paul Reed Smith starting in the 1980s. In 1986, Smith visited McCarty twice at his home in , initiating a deep professional and personal relationship that extended through multiple meetings, including McCarty's trips to PRS facilities in and joint appearances at trade shows like NAMM. McCarty offered practical guidance on guitar design and production, drawing from his decades at Gibson, covering topics such as glue formulations for wood joints, precise fret installation and leveling, neck attachment methods, and strategies for maintaining quality in a growing factory environment. He emphasized emotional leadership in business, advising Smith to "keep your cool" during challenges like factory relocations. This advisory role profoundly shaped PRS's evolution, culminating in the 1994 launch of the McCarty model, a solidbody explicitly named after and inspired by McCarty's innovative Gibson-era designs like the . The model paid homage to his principles of craftsmanship and tone, blending traditional elements with PRS advancements; Smith later described it as embodying "all the things Ted had taught me about making a good guitar." McCarty himself expressed pride in the instrument, noting its beautiful construction and innovative features. McCarty's specific counsel influenced key design choices in the McCarty line, including the adoption of bird inlays for distinctive fretboard aesthetics, figured tops to enhance visual appeal and sustain, and a 25-inch scale length to optimize string tension and playability between Gibson's shorter 24.75-inch and Fender's longer 25.5-inch standards. These elements reflected his focus on balancing form, function, and market desirability, helping PRS establish its reputation for premium, artist-grade instruments. The model's enduring popularity underscores McCarty's lasting impact, with variants continuing production into the 2020s.

Legacy and Recognition

Awards During Lifetime

Ted McCarty received formal recognition for his engineering contributions through several U.S. patents during his tenure at Gibson Guitar Corporation. In 1955, he was granted Patent No. 2,714,326 for a combined bridge and tailpiece design, which evolved into the iconic bridge system still used on numerous electric guitars today. This innovation allowed for individual string intonation adjustments, significantly improving playability and tone stability. In 1958, McCarty secured No. D181,867 for the body shape of the Flying V guitar, a radical solidbody model that influenced futuristic guitar aesthetics in the rock era. Under his leadership, Gibson also supported the development of the humbucking pickup, with a key filed in 1955 by engineer (U.S. Patent No. 2,896,491, granted 1959), addressing electrical hum issues in electric guitars. McCarty's innovations in the 1950s and 1960s earned widespread industry acclaim, positioning Gibson as a leader in electric guitar design and contributing to a 125% increase in sales during his presidency from 1950 to 1966. On March 26, 2000, he participated in an early interview for the NAMM Oral History Program, honoring his pivotal role in the musical instrument industry.

Posthumous Honors

Theodore "Ted" McCarty passed away on April 1, 2001, in , at the age of 91. One significant posthumous tribute came from Gibson with the release of the Theodore model in 2022 as part of its Custom Shop Archive Collection. This solidbody was directly inspired by a 1957 sketch McCarty had drawn while serving as Gibson's president, envisioning a futuristic design that combined an body, scimitar , and double cutaways—elements that had never been produced during his lifetime. Limited to just 318 units across various finishes, the model honors McCarty's visionary contributions to guitar aesthetics and engineering. McCarty's enduring legacy in guitar history extends through his profound influence on subsequent generations of luthiers and designers, shaping the evolution of electric instruments long after his death. His pioneering work on iconic hardware like the bridge and ABR-1 tailpiece continues to inform modern production techniques across the industry, inspiring builders to prioritize playability, tone, and innovation in their creations.

References

  1. [1]
    All About… Ted McCarty - Guitar.com
    Jun 4, 2018 · Ted McCarty was arguably the most influential CEO of any guitar company, and he designed more iconic hardware and guitars than pretty much anyone else.
  2. [2]
    UC grad Ted McCarty pioneered electric guitars
    As president of the Gibson Guitar Co. during its golden period, he collaborated with renowned guitarist Les Paul in the early '50s to develop the solid-body ...
  3. [3]
    The Unforgotten Man: Ted McCarty and His Impact on Paul…
    Feb 13, 2023 · Ted McCarty was a pioneer of the electric guitar and the musical instrument industry. He served as Vice President of the Gibson Guitar Corporation in 1949.
  4. [4]
    Ted McCarty | NAMM.org
    Ted McCarty was the president of Gibson Guitars when he signed Les Paul to help design a series of instruments with his name.
  5. [5]
    Theodore McCarty; Key Figure in Electric Guitar's Development
    Apr 8, 2001 · A native of Somerset, Ky., the future guitar builder was educated at the University of Cincinnati and graduated with a degree in commercial ...
  6. [6]
    Theodore Milson “Ted” McCarty (1909-2001) - Find a Grave Memorial
    A native of Somerset, Ky., the future guitar builder was educated at the University of Cincinnati and graduated with a degree in commercial engineering. During ...
  7. [7]
    Ted McCarty - Vintage Guitar® magazine
    I graduated from the University of Cincinnati with a degree from their Engineering college; it was a five-year course. I'd been the manager of the college ...
  8. [8]
    Ted McCarty - Lemelson-MIT
    As a young man in the 1930s, he began a career that combined his degree in commercial engineering with his love for the music field. He first worked for the ...Missing: oral history family
  9. [9]
    Theodore McCarty, 91, Father of Iconic Guitars - The New York Times
    Apr 6, 2001 · Mr. McCarty earned an engineering degree and later worked for Wurlitzer as an accountant and a merchandise manager. In 1948 he moved to Gibson ...Missing: 1936-1948 | Show results with:1936-1948
  10. [10]
    Theodore McCarty | | The Guardian
    Apr 8, 2001 · Ted McCarty leaves a daughter and a son. Theodore "Ted" McCarty, businessman and designer, born 1910, died April 1 2001. Explore more on ...Missing: parents | Show results with:parents
  11. [11]
    Gibson waits 65 years to turn sketch idea into limited Theodore guitar
    Mar 21, 2022 · He started work in March 1948, and by May a streamlined and improved Gibson factory started to make money. McCarty became company vice president ...<|separator|>
  12. [12]
    A brief history of Gibson - Guitar.com
    Aug 15, 2022 · In 1950, a man named Ted McCarty took over the presidency of Gibson ... 1950s Gibson had a problem – Leo Fender. The former radio repairman ...
  13. [13]
    History of Gibson Guitar Corp. - FundingUniverse
    The postwar period saw phenomenal expansion for Gibson, much of it due to the vision and leadership of Ted McCarty. ... 150 employees to 1,200, and its profits ...
  14. [14]
    Former Gibson Chief Ted McCarty on Tonewoods and the - Reverb
    Mar 15, 2018 · Ted was in his early 80s when we met, a frail man with poor eyesight, but for the most part his memory seemed in good shape. Since he left ...
  15. [15]
    The History and Evolution of the Gibson Les Paul - Guitar Center
    Aug 20, 2025 · Legendary Gibson president Ted McCarty certainly knew the power of celebrity endorsements, and he showed the prototype to Paul and Ford in ...Missing: roll | Show results with:roll
  16. [16]
    All You Need to Know About Gibson PAF Humbuckers | GuitarPlayer
    Sep 29, 2023 · In 1955, Gibson president Ted McCarty tasked engineers Seth Lover ... Gibson was, in fact, granted its patent in July of 1959, but ...
  17. [17]
    US2740313A - Bridge for stringed musical instruments
    A bridge for stringed musical instruments provided with an individually adjustable string supporting saddle for each string and one which may be adjusted ...
  18. [18]
    Interview: Seth Lover on Inventing the PAF Humbucker and - Reverb
    May 10, 2018 · How did the Gibson humbucking pickup come about? Again, Ted McCarty wanted me to design another pickup, and that's when I designed the humbucker ...
  19. [19]
    US2896491A - Magnetic pickup for stringed musical instrument
    A magnetic pickup for a stringed musical instrument comprising an elongated permanent bar magnet magnetized from side to side.
  20. [20]
    Birth of a Legend: The History of the Gibson Les Paul - Stringjoy
    Jul 26, 2024 · With Les Paul's previous advances in mind, McCarty reached out about a collaboration on Gibson's new solid-body design. McCarty also requested ...
  21. [21]
    ORIGINS (1950–1952) - MY LES PAUL STANDARD
    In 1951, Paul, McCarty and his team at the Gibson Guitar Corporation began work on what would eventually become the Les Paul Model.
  22. [22]
    The Legendary Gibson 1958 Korina Flying V & Explorer Guitars
    4.9 24K · Free delivery · 30-day returnsFeb 28, 2023 · As a direct result from this competitive goading, McCarty put together a design team to create some “modernistic”-looking new guitars in around ...
  23. [23]
    Design Patents For The Gibson Flying V, Explorer and Moderne ...
    Dec 8, 2015 · From 1958, Gibson president Ted McCarty's design patents for the Flying V, Explorer/Futura and Moderne models.
  24. [24]
    The 1958 Gibson Flying V: A History (Part One) - Gearnews.com
    Nov 6, 2021 · Gibson president Ted McCarty decided to hit back. The result was the very first Flying V! ADVERTISEMENT. Innovation in '58. You ...
  25. [25]
    The Story of the Gibson SG - GuitarGuitar
    Oct 25, 2022 · Fender was winning the great guitar battle, and Gibson's president Ted McCarty decided to rethink the now nine year old Les Paul design in an ...<|separator|>
  26. [26]
    Gibson: from the Les Paul to the SG - Fuzzfaced
    As Ted McCarty stated: “The solid body guitar has always been a weight issue ... The new vibrato, 1961 Gibson SG Style Les Paul Standard (Courtesy of Guitar Point) ...
  27. [27]
    Gibson's “Non-Reverse” Firebirds - Vintage Guitar® magazine
    McCarty hired industrial designer Ray Dietrich to devise the concept, but his elaborate neck-through design proved expensive and difficult to make, so in '65 ...<|control11|><|separator|>
  28. [28]
    A Famous Auto Designer Created This Guitar: The Gibson Firebird
    Apr 9, 2021 · Next, the design was of “neck-through” construction. That is, the neck extended all the way through the guitar, from the base to the headstock, ...
  29. [29]
    Gibson ES-335: why guitarists can't get enough of the iconic semi ...
    Mar 29, 2024 · Skip to main content. Open menu Close main menu. Guitar World ... These are all timeless models, but McCarty's semi-hollowbody design for the ES ...
  30. [30]
    The Legend of the Gibson Moderne | Reverb News
    Dec 2, 2016 · A short-lived vision. In 1957, Ted McCarty (the head of Gibson guitars at the time) applied for design patents of three guitar shapes: the ...
  31. [31]
    Gibson CF-100E stars in new Certified Vintage drop - Guitar World
    Jul 17, 2025 · The Gibson CF-100E was ahead of its time, and one of the early models of the firm's lauded Ted McCarty era.
  32. [32]
    PRS McCarty Model: The Story of Paul Reed Smith and Ted…
    Aug 12, 2015 · Consequently, Ted McCarty became a mentor and dear friend to Paul and the PRS company. Paul called on Ted to consult him on various guitar ...
  33. [33]
    https://prsguitars.com/electrics/model/mccarty_2023
  34. [34]
    US2714326A - Stringed musical instrument of the guitar type and ...
    This invention relates to improvements in a stringed musical instrument of the guitar type and combined bridge and tailpiece therefor.
  35. [35]
    How Gibson unearthed a 1957 Ted McCarty sketch and turned it into ...
    Mar 24, 2022 · The double-cut electric guitar is the first model from the new Gibson Archive Collection, and inspired by a sketch drawn by former Gibson president Ted McCarty.
  36. [36]
    Gibson Theodore Standard - Vintage Guitar® magazine
    Named in honor of Ted McCarty, the Theodore is based on a design the legendary Gibson president penciled into a sketchbook back in 1957.
  37. [37]
    https://www.guitar.com/features/ted-mccarty/