Forest floor custom. Four forests of the floor, or how to look for ways of self-justification
1) First model Les Paul was suggested by the guitarist Les Paulom in 1945 the company gibson, however, the guitar giant at that time abandoned the idea of releasing a solid body guitar, and only in 1952 after the success Fender Telecaster ,Gibson decided to release les paul, especially for this creator of the electric guitar was invited to join the staff of the company
2) Gibson Les Paul not the first electric guitar from the line before it, semi-acoustic was produced back in the 1930s Gibson ES-150, some elements of this guitar migrated to Les Paul
3) They say that he Les Paul offered not so much for the new electric guitar, namely the location of the tailpiece, as well as gold and black color. Gold - an electric guitar will therefore look more expensive, and black - the fingers on such an instrument seem faster in movement
4) First Gibson Les Paul produced in two models: gold top is the usual model, and Custom with better fittings
5) Gibson Les Paul Custom was nicknamed the "black beauty" because of the black color of the paint. The electric guitar itself consisted of mahogany, and was also equipped with other pickups.
6) In 1954 the company Gibson launches a model Junior thus expanding the range. L es Paul Junior, First of all, it is designed for beginner guitarists. It should be added that the cost Junior was significantly less than Gibson Les Paul, however, instead of two humbuckers, it had only one single, as well as a slightly different tailpiece
7) In the middle of 1955, production begins Gibson Les Paul TV. This name was coined because the electric guitar was supposed to shine against the background of black and white TVs, however, the implementation did not work out.
8) Also, in 1955 comes out Gibson Les Paul Special This electric guitar is remarkable in that it has two P-90 singles
9) Gibson Les Paul Standard updated three times in 1958, in 1968 and 2008
10) Among the eminent musicians who played on Gibson Les Paul can be called Keith Richards from Rolling Stones, Eric Clapton, Jimmy Page
We add that the contribution of this guitar to the rock music of the 20th century cannot be overestimated on a par with and telecaster , Gibson Les Paul is the most recognizable guitar in the world, which is noteworthy, these electric guitars are played by musicians of completely different styles ranging from jazz, funk, rock and roll and ending with very heavy ones such as black metal and heavy metal, it is also worth noting that even many punk musicians play exactly on Les Polah
Large selection of Gibson electric guitars in our store - TopGuitars.ru
All the same, it used to be somehow simpler. Let's take guitars for example. By the end of the 1950s, all Gibson models could be counted on the fingers. Suppose I wanted to buy a Les Paul, I came to the store there weighs two guitars - Gibson Custom and Gibson Les Paul Standard. I chose what I liked, paid money and in an hour you are already playing and rejoicing. Today? Instead of going and just buying something, for example a TV, you need to spend several days of your life on the Internet, looking for the necessary information. Or even if you come to the store, then there is a whole wall hung with various models and go straight away and figure out “huh ic hu” and what to buy ...
On the one hand, this is certainly good. There is a choice. On the other hand, Gibson made all of its best guitars 50 years ago. If you talk to any Gibson fan or just a guitar lover, they will tell you that the coolest and most sounding Gibson or Fender are the ones that were made in the 19XX some years. Naturally, there are exceptions, but basically the answer will be this - they say now the Gibson is not the same, but then, in those days ...
There is, of course, some grain of truth in this. But if you listen to the guys from Gibson, all these years, they only "improved" their guitars. And they improve their guitars every year. They have been improving for more than 60 years, but still, for some reason, everyone wants the original 1954-59 Gibson. Everything would be fine, let them do it for themselves, it is understandable, because you need to earn money somehow. But the fact is that since 1954, these guitars have been released so much that an unprepared person will simply get lost in this abundance of guitars. And since we do not need the "lost" guitarists, we are going to you.
Gibson USA and Gibson USA Custom Shop
To begin with, it is worth saying that all Gibson Les Paul guitars are made only in the USA. The first Les Paul was released in 1952, in GoldTop with a trapezoid bridge and P-90 pickups. In 1954, this guitar was fitted with a Stop Bar bridge. Subsequently, such guitars became known as Les Paul Goldtop.
In 1954, the Gibson Custom came out, with an ebony fingerboard that the Les Paul called the Black Beauty. Later, all black Gibson LP Customs were called Gibson Black Beauty. Also on this guitar was the first bridge installed - ABR-1, which then began to be put on all Gibson Les Paul.
Few people know, but in fact, the humbucker was invented in 1955, and they began to put on Gibson guitars only since 1957. What today for many is just a “hamb”, at that time was truly a revolutionary development, so it was patented and written behind the sound - PAF (Patent Applied For). Then this name became a household name. Today, on the basis of "that" humbucker, they make the "Classic '57" pickup, which are equipped with various Gibson guitars.
Gibson USA serial production
Until 1982, all Gibson Les Pauls were solid body. Starting from 1982/1983, they began to make Weight Relief - a lightweight body. All Gibson Les Pauls made between 1982-2007 have a lightweight body. Traditionally lightening the body was done by drilling 9 holes in the body of the guitar. This method of relief is also called "Swiss cheese".
Starting in 2007, Gibson officially started making Chambered Body, i.e. cutting out cavities inside the body, also to reduce weight. All guitars that were released at the end of 2006 and after 2007 have a Chambered Body, i.e. a body with cavities inside. The exception is the Les Paul Traditional model, which has a holed body. Starting in 2012, Gibson has introduced a new kind of cavity called Modern Weight Relief. All Gibson Les Paul Standards from 2012 onwards have Modern Weight Relief.
Gibson Custom Shop
In the Custom Shop department, they make both serial guitars and reissues of old models - the Historic Collection. Mass-produced guitars, such as the Gibson Les Paul Custom, also have a lightweight body (Traditional Weight Relief, with holes). They do not make one-piece body guitars.
Historic Collection guitars are solid body. All LP models in this series, including Standard and Custom, are one-piece. The exceptions are Chambering Reissue guitars. They can be identified by their serial number, which begins with the letters "CR".
To summarize, for example:
2002 Les Paul Classic - weight-relieved (with holes)
2003 Les Paul Reissue '57 (R7) - One Piece Body
1993 Les Paul Standard - weight-relieved (with holes)
2013 Les Paul Standard - chambered
2008 Les Paul Studio - chambered
1981 Les Paul Standard - solid body
1987 Les Paul Custom - weight-relieved (with holes)
In addition, various Gibson Custom Shop models have different way fingerboard inserts.
Short: Les Paul Standard (until 2008) Custom, Studio, Classic.
Long: Historic Reissue, 2008 LP Standard.
Historic Reissue Series
Historic Reissue is a faithful reissue of guitars from the 50s. The letter "R" stands for Reissue, the number after it is the year in which the original model was made, which is being reissued today. For example, the 2012 Gibson Custom 1957 Les Paul Standard Historic VOS is a reissue of the 1957 Gibson model that was made in 2012.
R2 - Gibson LP Reissue - reissue of the 1952 model
R7 - 1957 LP reissue
R8 - 1958 LP reissue
R9 - 1959 LP reissue
R3 and R5 - there are no reissues.
Reissues of Custom models are often referred to as B4, B7 or R4BB and R7BB, where BB stands for Black Beauty.
Gibson VOS - Vintage Original Specification series. Usually VOS, Reissue, Historic Collection refer to the same guitars. The only difference is that VOS are guitars with "aged" hardware and a matte lacquer on the top, as opposed to just Reissue. The names of the guitars are written like that, either VOS or simply Reissue. For example, two identical guitars - Gibson Custom 1959 Les Paul Standard Historic Reissue, both in Tea Burst. VOS version with aged hardware and matte finish, but simply Reissue with regular hardware and glossy lacquer finish.
Gibson R7, R8 and R9
It's essentially the same guitar, with very few differences. These differences mainly relate to pickups, neck thickness, weight of each individual guitar, covers and tops. As for the thickness and profile of the neck, for a better understanding it is desirable to play each of these guitars of course. If this is not possible, then it turns out something like this - on R8 the neck is thicker than on R9, and on R7 it is thicker than on R8. In addition, a more beautiful flame maple top is put on the R9, in contrast to the simple top on the R8 and R7. This alone is why the 1959 Les Paul Reissue costs $2,000 more than the R7 and R8. Wood R7, R8, R9 are the same - mahogany body with maple top, deep-set mahogany neck, rosewood fretboard, two humbuckers, TOM bridge, volume and tone controls for each pickup.
The Custom Reissue also features a mahogany body and mahogany top. Regular production models Custom, produced with a maple top. This makes the Custom Reissue weigh about a pound more.
As for the weight of these guitars, below is a great photo taken in one of the Gibson Custom Shop.
Read no more cats!
The biggest trouble that can happen to a family where a guitarist is wound up is not loud music and not the degradation of his brain. And the fact that he will rush to collect an infinite number of guitars. Although the first two points also take place.
Personally, during the first four years of study, I tried with a thousand instruments, and purchased 19 copies for personal use. Here is the full case history:
2010
Fender Highway One Telecaster White Blonde ().
Gibson Les Paul Studio Cherry
2011
Fender Highway One Stratocaster Blue
Epiphone Casino Cherry (Chinna)
2012
Fender American Vintage Telecaster 1952 Reissue Butterscotch Blonde
Gibson Firebird Sinburst
2012 Gibson Custom Shop ES-330 VOS Sunburst
Gibson Custom Shop ES-335 Satin Cherry
Fender American Deluxe Stratocaster HSS Teel Green
1979 Fender Stratocaster Black
2012 Gibson Melody Maker Flying V Black
2013
2012 Fender American Standard Telecaster Red
2009 Heritage H-157 Black w/Natural Top (refinished to red)
2012 Fender American Vintage Telecaster Thinline 1972 Reissue Natural
2001 Gretsch G6128T-1962 Duo Jet Black
Traveler Guitar EG-2 Black
1978 Gibson Les Paul Custom Black
2012 Gibson Les Paul Standard sunburst
2014
2004 Gibson Les Paul Custom 68 reissue burst
For what? Well, first of all, it's fun and beautiful. Secondly, I want to try everything at once. Thirdly, you are looking for your sound. But the main thing is that while you don’t know how to play properly, you have a dream that you are about to find a guitar on which everything will play by itself.
Almost four years passed before I realized that my instrument was a banal ordinary Les Paul. Yes, it is massive, uncomfortable and it hurts my back, but at some point I really started to play on it by itself. And he makes such uuuuhhh, zhzhzhzh, trrrrrrrrr and tygdym-tygdym, which nothing else can pronounce. The only problem is that Gibsons can't do tryyyyyn! To do this, you definitely need a telly or a strat.
I ended up keeping a couple of lever guitars (Gretsch and Stratocaster) and one traveler Traveler Guitar EG-2. And he left three Les Pauls as the main tools of labor. A couple of months ago, a fourth unexpectedly joined them - he appeared in the house quite by accident, they failed to sell on time, as a result, he registered in the apartment. But it's a long and dark story, let's not talk about it.
Any fool can have four Les Pauls, even a bass player. But modern man is a rational and conscientious being. And if he has several almost identical tools, I want to come up with some kind of moral justification - why you need each of them so much.
In addition, there is a common misfortune - if you have a lot of guitars, sooner or later there will be those on which you do not play. That's why I set myself the task - to provide work for all four Les Pauls. And moreover - to make them functionally different. Well, so that when the wife asks "why do you need so much?" you answered: "This one is for blues, this one is for metal, and with this one I will go to the synagogue ... to party meetings, that is."
So let's solve the following problem:
Parallelization of tasks for four Les Paul guitars
Gibson Les Gibson Custom made in 1978.
Black "customs" of the 70s are the main fetish of metal guitarists, since in those years Gibson massively put maple necks on Les Paula, which made these evil guitars even more evil. In addition, maple is a durable material, even very thin maple necks do not break or bend very much, and therefore such a configuration is most welcome for a saw blade.
Usually people buy them and put a set of active "hedgehogs" (most often EMG 81/85) and live happily drinking beer. Actually, this is what I did.
I say right away - with the 81/85 set you get a hell of a lot of things, but at the same time you lose the same amount - the classic vintage sound becomes uncut, what can I say if it’s hard to unscrew the usual AC / DC on a lamp. Therefore, the presence of an "active" custom in the house implies the presence of other tools.
Plus, it's an incredibly heavy guitar. Even sitting does not press like a child.
Heritage H-157
This is a Les Paul Custom, but not from Gibson, but from the former old Gibson factory in Kalamazoo, which still makes small batches of Heritage branded instruments. The instrument is insanely cool, the best Les Pauls non-Gibson makes. Although many are infuriated by the shape of the head. But I quickly got used to it, besides, when you play, you still don’t see the head.
Initially, it was a natural color, but in Shamrai it was repainted to a surprisingly high quality in a translucent cherry.
I quickly found a special use for "Heritage" - I put on thick strings and lowered all six strings a tone lower. I put "zebra" pickups for beauty - in the Wolfgang EVH neck, and in the bridge the well-known Seymour Duncan JB.
In general, in a lower tuning it is interesting to cut not only death-grind (for which everything was started), but also on a light gain with some kind of heavy grunge-like alternative. And on the wedge, it’s generally dark.
Gibson Les Paul Standard
Tyncu always says that using a Gibson for pure sound is a crime and a sexual perversion. For a long time I didn’t believe him - it’s beautiful strumming on the couch! But not so long ago I bought an audio card for recording guitars and after a long fuss I was convinced that, indeed, the Les Paul is a completely unconvincing instrument on the wedge, and the Stratocaster or Telecaster tears it to shreds. Here is distortion and high gain - there are already other hands, right. And for the wedge, Gibson has separate instruments - numerous ES semi-acoustics.
The new "standard" LP was bought by me in "Muztorg" due to the fact that I really wanted exactly this color - so that there was a sunburst, but with black sides and back, and not red, as is usually the case. The instrument had a surprisingly sonorous, melodious sound, and besides, it had sophisticated electrics - with cut-offs, bypass and antiphase.
At some point, I was left without all my Gibson semi-acoustics, so there was a desire to make a standard Les Paul not quite standard - with singles. I sold my original pickup set and instead ordered a set of Lollar P-90 humbucker pickups from guitarsupply. In the first photo (with a cat) they are clearly visible.
But my task was to make the sound more suitable for the "wedge", as well as imitation of the sound The Who, Black Sabbath and Green Day. That is, it was about installing P-90 type sensors. The wedge, to be honest, remained a one-piece Gibson, that is, not very interesting. But light gain and distortion - a typical P-90, very rough and incredibly driving. At high gain, the phonite is prohibitive.
As a result, I again received a special tool that does not intersect functionally with the rest of the available Les Pauls. In a sense, this is also a standard - only the standard of the mid-50s, when Gibson did not have any humbuckers.
Gibson Les Paul Custom 68 reissue
"Customshop" custom, which everyone calls the 1968 reissue, although in reality it has almost nothing in common with 1968. This is an artificially bred Gibson model of Custom with vintage fittings, no internal cavities, with a striped top (sorry not visible in the photo) and with a thick neck. Sensors 57 Classic.
Here, after much deliberation, it was decided not to touch anything. Let it be the most ordinary Les Paul. After all, this is also needed in the economy, right?
Actually, the problem is solved - we have four Les Pauls (of which three are Custom), none of which in any way repeats the rest, and is used more than intensively.
You can go further, of course - get one baritone, one Les Paul with a Bigsby "rocking chair", a light Custom Lite to make your back hurt, etc., so there's still some ground left. But for now I have calmed down on what has been achieved, I hope this calming will last for a long time.
P.S. Yes, they will certainly ask - do I hear the difference between the traditional, standard Les Paul and "custom". Structurally, the difference is small, but the ebony overlay radically changes the way you work with the instrument. Firstly, it is beautiful and comfortable - ebony is a very smooth material, and fingers run along it differently than on rosewood. Blind tests are meaningless here - it's not about what the ear hears, but about how the guitar reacts to the actions of the guitarist himself. "Custom" reacts a little differently than the standards / traditional ones.
Well, plus the ebony overlay gives a very peculiar color, especially in the lower frequencies - they begin to attack and "shoot" like artillery. This is not always good on classic rock, but for metals it has a decisive positive value.
Now ebony is banned in the USA, and the latest "custom" models (as well as guitars from other manufacturers, including acoustic ones) wear a fingerboard made of artificial material Richlite - a mixture of polymers with pressed waste paper. It looks about the same as ebony, but from the point of view of the old school it is not true at all, and - they say - the sound is more "middle". I myself have not yet felt Richlite, so I will not say anything more.
But I can say a word in defense of baked maple fingerboards, which Gibson now often uses on many models instead of rosewood. I do not agree with the general swearing at the baked maple. In my opinion, this is excellent material in terms of sound as well. Plus, it's incredibly comfortable and sturdy. I had a Flying V with a baked maple fingerboard, and I never twisted the anchor there - a stable material, much stronger than capricious rosewood and the same ebony.
Publication date: November 18, 2003
In the early 50s, in light of the total "electrification" of guitar building, Gibson began to master solid body instruments. Their production was not associated with any special technological difficulties and did not require capital investments. The process started almost painlessly.
Today, it is problematic to establish with a 100% guarantee who invented the "board" guitars. There is an opinion that the idea belongs to Rickenbacker, who threw on the market in 1931 the so-called "frying pans" ("frying pan"), and then in 1935 - a series of Spanish Electro guitars.
Things are moving on as usual, and as ironic as it may sound, the name of the man who pushed Gibson to release solid body guitars is Clawrence Leo Fender! If you look at the first "Gibson" "boards", like Paul Bigsby, then you can easily find a lot of outright borrowings and unveiled plagiarism from Leo Fender.
The "Fender" Broadcaster, introduced in 1948, sparked a heated debate in the guitar world. Experts believed that such guitars are nothing more than a tribute to fashion, they say, their production does not require special skills from guitar makers. However, due to their clear sound, portability, and playing comfort, Fender's solid bodies have been highly acclaimed by many guitarists. In particular, country music performers.
In 1950, Gibson finally recognized the solid body as a viable and competitive direction. Time required new solutions. As Ted MacCarty, who took over Gibson in 1950, recalls, "Fresh ideas were needed, and Mr. Les Paul came in handy!"
LESTER DOUBLE-U POLTUS
L es Paul (Les Paul) - nee Lester William Polfus (Lester William Polfus) - was born on June 9, 1916 in the town of Waukesha (Wisconsin). I wanted to become a pianist, but my love for the guitar turned out to be stronger.
In the early 30s, Lester moved to Chicago, where, under the pseudonym Les Paul, he performed in local bands that performed the then Top40. Having earned a reputation as an impeccable musician, Les Paul begins experimenting with amplifying the sound of the guitar, for which he uses a gramophone pickup. Through trial and error, it is possible to find the optimal location of the sensors and minimize the effect " feedback". In 1934, Les Paul received a patent for his invention. His guitar pickups proved to be quite suitable for concert and studio work.
In 1937, the musician decides to try his luck in New York, going there with his trio, which included Jimmy Atkins (Jimmy Atkins), brother of Chet Atkins. Thanks to his talent and ingenuity, he gains recognition in artistic circles.
In 1941, Les Paul negotiated with Epiphone to provide him with a workshop for one of the weekends, where our hero could continue his experiments. This is how The Log ("Log") appeared - a guitar with a huge body and a "Gibsonian" neck.
In 1943, Les Paul moved to the West Coast, to Los Angeles, to collaborate with Bing Crosby. And then he ties his musical career with vocalist Mary Ford (real name - Coleen Summers (Coleen Summers).
After the Second World War, the guitarist approached Gibson with a request to make an instrument for him in accordance with the original designs, but there was no interest. His guitar was even called "mop"! The image of the company at that time was distinguished by pompous respectability. Gibson couldn't go below the bar they set themselves.
In the late 1940s, recordings by the Les Paul-Mary Ford duo began to climb the charts. "Lover", "How High the Moon", "Brazil"... They all became hits, and Les Paul is one of the most popular artists.
PROTOTYPE CONCEPT
The prototype appeared around the beginning of the 50s and was called "The Les Paul Guitar". It was not difficult to make a "board" guitar, it was only necessary to choose the material. The problem was solved by the method of "scientific poke". We even tried railroad tracks!
There were no standards at that time. For the manufacture decided to use maple and mahogany. With this combination, a compromise was found between the mass of the instrument and the sustain. Both species were glued together, but different cuts were used: mahogany was sawn along the vertical fibers, and maple was sawn along the horizontal.
Ted McCarthy and his team designed the dimensions of the prototype in such a way that it did not differ much from the usual semi-acoustics. To increase the filling, the upper maple part of the soundboard was made convex (carved).
The prototype used a solid mahogany neck with a rosewood fretboard. There were only 20 frets, and the neck was connected to the body at the 16th fret. Access to the upper registers was facilitated by the adoption of the Venetian cutaway.
The guitar was equipped with two P90 single-coil pickups with independent tone and output control, and a three-position switch made it possible to use both pickups separately, or both at the same time.
The original performance of the "Gibsonian" prototypes features the traditional trapezoidal taipiece, which was also found on electroacoustics of that period.
Once Les Paul remarked that a guitar must have an expensive appearance. However, Ted McCarthy was ahead of him: when the musician first saw the guitar, it was already covered in gold paint (this finish later became the standard, known as "gold top"). Gold plating was also required in order to hide the top of the maple, so as not to "tease" the competition. Moreover, the Les Paul model that appeared in 1952 catalogs was listed as made of mahogany. Not a word about maple!
After the prototype was ready, Gibson management began to think about how to link together the reputation of a "respectable company" that does not trade in small things, with the need to release a new model. Some good reason was needed, some reason ... And they remembered Les Paul. He was an excellent guitarist, a popular artist, but it is obvious that, holding a grudge, he fundamentally does not want to play Gibson guitars! And Ted McCartney, having appointed Phil Braunstein as his financial adviser, decides to use heavy artillery. Together with Brownstein, they travel to Pennsylvania, where Les Paul and Mary Ford are recording.
After a brief introduction to the instrument, Les Paul, according to Ted McCartney, told Mary Ford the following: "You know, I think their offer is worth it!". Ted McCarthy suggested that the new guitar be named, and for each model sold, he would receive a percentage. The contract was signed that evening. Under the terms of the agreement, Les Paul was obliged to appear in public exclusively with Gibson guitars for 5 years, becoming an endorser.
McCarthy then asked if Les Paul had any wishes for the guitar? He suggested a bridge-tailpiece combo. The design is an ordinary tailpiece with a cylindrical blank behind, through which the strings were threaded. The offer was accepted.
So, the contract is signed. And the first Les Pauls debuted in the spring of 1952.
The logo of the manufacturer, made of mother-of-pearl, adorned the head. And the inscription "Les Paul Model" in yellow letters was placed perpendicularly. And finally, Kluson tuning pegs (at that time they were produced without any markings) with plastic "tulip" hats were put on the guitar.
While paying tribute to historical justice, guitar enthusiasts point out that despite all his many talents, Les Paul still did little for the guitar that bears his name. According to Ted McCarthy, the guitar was completely designed and engineered by Gibson. Except for the tailpiece that Les Paul suggested. However, Les Paul himself in all interviews makes it clear that it was he who, having rich experience, participated in the development of the legendary model.
Complementing the Les Paul line were 12-watt Les Paul Amplifiers with the initials "L.P." on the grille.
That's how it was...
THE FIRST LES PAUL MODEL GUITAR
From 1952 to 1953, sales of the Les Paul surpassed Gibson's 125-piece Gibson range on every count. Debut successful! During the 50's there would be several Les Paul variants and reissues (there were 5 to be exact). The legendary Standard will appear.
The first series (in other words, the original) is characterized by the following:
- two single pickups with white plastic shells (known as "soap bars" - "soap bars"). On the first plastic is thinner than on the next;
- trapezoidal bridge-string holder;
- finish "gold top". Plus a one-piece mahogany body-and-neck construction.
Usually the first releases of Les Paul are called Gold Top. This term is used to draw a watershed with the well-known Sunburst model, the fifth and final variation. Some guitars were completely opened with "gold" - both the neck and the body. They are called Solid Gold. However, such models are much less common than gold tops. Until 1953, Les Paul guitars were not serial-numbered, as labeling guitar "boards" was not practiced. The very first releases of the Les Paul are also distinguished by the diagonal arrangement of the screws that adjust the height of the bridge pickup, the large knobs of the potentiometers in "pale gold" (they received the unofficial name "hat box knobs" or "speed knobs" - "handles speed") and the lack of piping on the fingerboard.
It soon became clear that the trapezoidal bridge-tailpiece created problems: it was difficult to jam with the right hand. On top of that, those who liked to play with their hand fixed on the tailpiece found that the strings were too low. Thus, at the end of 1953, the Les Paul model was modified with a new tailpiece. It soon earned the nickname "stop tailpiece" or "stud" due to its angle to the heel of the neck. The design was thought up in such a way that it made it possible to simply change the "old" threshold.
The "stud tailpiece" officially appeared in early 1953. The rest of the first issue was completed by him.
LES PAUL CUSTOM
Early in 1954, the Les Paul Model split into two branches. Modified versions were called "chic" and "modest".
The "chic" model, dubbed the Les Paul Custom, featured an ebony fretboard with mother-of-pearl rectangular block markers and a multi-ply binding on the body. Both from the front and from the back. All fittings were opened "for gold".
As opposed to the predecessor model Les Paul Custom - all mahogany. No maple top. This decision can be explained by three reasons. First, oddly enough, appearance. Custom was opened with black lacquer. So the need for a textured maple upper was no longer necessary. Secondly, the price. The mahogany guitar was cheaper. Thirdly, sound. As you know, in comparison with maple, mahogany has a "ripe", "velvet" and "soft" sound. Thus, the Custom was mainly intended for jazz players. In fairness, it should be noted that this remark is very controversial, since the first gold tops were also opened with gold paint, under which it was hardly possible to appreciate all the charms of maple. Undoubtedly, the second and third points deserve attention. And yet, we note that the maple that was used for the top of the Les Paul Gold Top (or rather, was under the gold paint) was of excellent quality, chic texture, etc. Although the upper part could consist of two or three parts. Therefore, there is no reason to blame Gibson for saving money on the Custom.
Another important innovation of the Custom model was the use of a pair different types pickups. In the neck position was a pickup with six oblong Alnico V-shaped magnets, and in the bridge position - a P90 single, familiar to us from the Les Paul Model. The tone characteristic was improved by varying the parameters of the sensors.
The Les Paul Custom was introduced in 1954 with an Ebony ("opaque dark") finish. This finish has been nicknamed "Black Beauty" and the low-set frets have given the Custom the informal name "Fretless Wonder". The trim used on the original Custom models differs from the reissues that began after 1968. The original was "blacker", but not as "deep". Black paint has less gloss. But where the Custom model really differed from its relatives more favorably was the tune-o-matic bridge (on the rest of the guitars of the Les Paul series until 1955, a stop-tailpiece was used).
Tune-o-matic was invented around 1952 by Ted McCarthy and his team. The tailpiece parameters have been designed in such a way that it can be placed on any type of guitar - with and without a protruding top. With the help of tune-o-matic, it was possible to accurately tune the scale. Regardless of string size and other factors. Soon he was found to be used on other models.
And finally, the Custom head was slightly wider than on the Les Paul Model. There was also an inlay in the form of a "split diamond".
In the original version, the guitar was equipped with Kluson tuners, the same as the Les Paul Model. They were later changed to "sealfast". As for the designation of the model, it adorned with a bell covering the anchor rod.
Since the release of "Black Beauty", the model has gained numerous fans and admirers. Among them - Frank Bisher (Frank Beecher), lead guitarist Bill Hailey (Bill Hailey), author of the first rock and roll "Rock Around The Clock", as well as many blues and jazz musicians.
LES PAUL JUNIOR
An "economy" model called the Les Paul Junior appeared in 1954. It also has a number of differences from the basic model. First of all, it's a flat top. The guitar is equipped with one single-coil with a black body and two screw lugs, with which you can adjust the height and ratio to the strings. The circuit solution is represented by two knobs - volume and tone.
The neck and body are mahogany with a rosewood fretboard. Position markers - pillboxes made of mother-of-pearl. The neck is slightly wider than the rest of Les Polov - 43 mm (nut) and 53 mm (12th fret). The same bridge-taipiece combination was used as on the other models. However, the Gibson logo on the head was not lined with mother-of-pearl - the most ordinary yellow letters. Les Paul Junior lettering is perpendicular. The tuning pegs are Kluson.
This model had a "dark mahogany" finish with a sunburst that faded from brown to yellow. There was also a black false panel. In 1954, the decision was made to use the "ivory yellow" finish, which would later become official for the TV model (its release was launched in 1957).
The Les Paul Junior, which appeared on the shelves of music stores, began to sell very well, which can be explained mainly by the price.
In the Gibson catalog for September 1, 1954, you can read the following:
- Les Paul Deluxe: $325.00
- Les Paul Model: $225.00
- Les Paul Junior: $99.50 (!).
Note: Custom and Deluxe are the same.
The heavy, overdriven tone at high volume was enthusiastically received by the guitarists. Among the owners and connoisseurs of this model - Leslie West (Leslie West).
LES PAUL SPECIAL
After the "economical" and "chic" models, Gibson management decided to launch an intermediate version into orbit. It appeared in 1955 and was called the Les Paul Special.
In essence, the Special model is the same as the Junior, but with two singles, separate volume and tone controls. Plus 3 position switch. The pickups had the same rectangular bodies found on the Les Paul Model. But black plastic.
Like the low-budget Junior, the guitar has a flat top. The fretboard is made of rosewood with mother-of-pearl dot markers. The Gibson logo is laid out on the headpiece in mother-of-pearl, as it should be, and the Les Paul Special lettering is in yellow paint.
The finish of the instrument is really very "special" - straw yellow. But not orange. She received the name "limed mahogony" - "clarified mahogany". Very soon it was adapted as "official" for the TV model.
The Special also featured a horn cutout and, like the Junior, was fitted with a stud tailpiece.
The appearance of the tool was announced in the catalogs on September 15, 1955. It was priced at $169.50, while the Custom, Standard and Junior prices were $360, $235 and $110, respectively.
Note: The Les Paul Model, which began to be produced in the second half of 1955 in a somewhat modernized form, is commonly called the Standard. Although the name itself was adopted only in 1958, when the third reprint of the original appeared.
THE ARRIVAL OF HUMBUCKER PICKUPS
1957 is a particularly important year for Gibson. It was then that the presentation of a new type of pickup - humbuckers - took place. Let's talk more about this type of pickup, which today, after so many years, is used not only on "Gibson" guitars, but also on other modern instruments.
The culmination of numerous experiments with single coil pickups was the introduction of the "Alnico" with six height-adjustable magnets. In 1953, the decision was made to work on a new type of pickup. On the one hand, they had to meet the then requirements, and, on the other hand, to save them from the main drawback - too strong sensitivity to electric fields.
Using the principle when two coils are connected in parallel or in antiphase, Walter Fuller (Walter Fuller) and Seth Lover (Seth Lover) came to the conclusion that in this way you can get rid of harmful interference from external sources. The work took about a year and a half, and on June 22, 1955, Seth Lover received a patent for his own invention (it was officially confirmed on July 28, 1959), which was called a humbucker, from "bucking hum" - something something like "resisting noise". And although the invention is officially attributed to Seth Lover, it is known for certain that three patents on a similar topic were registered before him. However, none of Lover's predecessors made claims, and the patent was registered in his name in 1959.
The first humbuckers were two black plastic spools with 5,000 turns of plain 42-gauge enameled copper wire with maroon insulation. Under the coils were two magnets, "Alnico II" and "Alnico IV" - one of which had adjustable poles. And no identifying marks. The coils were fastened with four brass screws to a nickel-plated plate. The design is placed in a metal box, which was soldered to the bottom to completely shield the block.
Although work on the new pickup was completed in 1955, it did not officially appear until 1957, replacing the P-90 and Alnico single-coil pickups, the installation of which was practiced on almost all Gibson models.
Until 1962, humbucking pickups were placed on various models of electric guitars. Their cases were marked with the inscription "Patent Apllied For" - "The patent is attached." Starting from 1962, the patent number also appears on the bottom platform.
Up until the 1970s, humbuckers mounted in the bridge and neck positions differed little in their specifications.
I think it would be useful in this place to dispel the mystical halo that surrounds "Patent Applied For" (abbreviated as "P.A.F.") and is considered best type pickups ever made. On the one hand, nostalgia, on the other hand, snobbery play a decisive role in such judgments. However, one thing is undeniable - original design stood the test of years. Thus, the "original sound of a humbucker" is characterized by relatively weak alnico magnets - "Alnico II" and "Alnico IV" - and two coils with 5 thousand turns each. In the 1950s, Gibson didn't have stop counter machines. This is why early pickups differed in their sound. Sometimes winding standards even changed. There could be 5, 7, or even 6 thousand turns in the coils! Accordingly, the resistance also changed: from 7.8 kOhm to 9 kOhm.
It cannot be discounted that when creating humbuckers, Seth Lover and Walter Fuller resorted to M-55 magnets, which were used for single-coils and had dimensions of 0.125"x0.500"x2.5". In order to simplify the construction, in 1956- Gibson began to use M-56 magnets, shorter and less wide, which of course reflected in the performance, then the intensity of the magnets reached the V mark, and in 1960 the number of turns in the coils decreased, thereby marking a new leap from the original sound.
And, finally, it is worth mentioning another important change that took place in 1963 - the improvement in the quality of the wire. The wire diameter remained the same (number 42), but the insulation became thicker than the previous one. The old wire is easy to identify due to its maroon color, while the new one is black. In addition, thanks to the emergence of new machines, the pickup winding system has changed.
All of the above has led to differences in the types of P.A.F. pickups. Without a doubt, it may seem to someone that some pickups are better than others. Pickups like "P.A.F." became a legend. That is why, in 1980, Gibson released a faithful reissue of the original humbuckers. With the exception of the "Patent Applied For" decal, which is easy to fake, the original "P.A.F." can be distinguished by the following features:
1. a special square hole on the top and bottom of the coil with a ring around the perimeter. Coils designed by Seth Lover were used without any upgrades until 1967. With the advent of new equipment, the coils began to be marked with the letter "T" on the top;
2. maroon sheath and black sheath of two output wires. Starting in 1963, the wire sheath became even darker, and the outgoing wire instead of black was white.
In 1957, the Les Paul model was equipped with two humbuckers, which replaced the original pickups with a white plastic body. The fourth version of the original series existed from mid-1957 to mid-1958. One year in total. Note that several gold tops with white P-90s were produced in 1958 as well. The rest of the model is not much different from its predecessor.
Some gold tops of that period were made exclusively from mahogany, without a maple top. Probably, both the shortage of maple and the Les Paul Custom motifs affected. According to connoisseurs, the result was terrible.
A little later, in 1957, the Les Paul Custom was modified with three humbuckers at once instead of two single-coils. The sensor switching system has also changed. A three-position toggle switch gave the following choice of pickups:
1. neck pickup ("front");
2. bridge and central sensor in antiphase;
3. bridge pickup ("rear").
Such a system did not allow using either the middle sensor separately, or three at once at the same time. In some cases, instead of the second combination, a center and neck pickup were used. However, the guitar was equipped with a traditional set of controls - two timbres, two volumes. Some rare Les Paul Customs have only two humbuckers. This version was not mass. The guitar was made to order. As before, the finish is "opaque black". The tuning pegs are Grover Rotomatic.
LES PAUL STANDARD
In 1958, the Les Paul Model was again modified. This fifth and final option is being chased by collectors of old Gibsons. This is perhaps the most expensive piece on the vintage guitar market.
First of all, the "gold top" finish was replaced by "cherry sunburst" (top of the deck) and "cherry red" (head). Cherry fading to yellow, these guitars appeared in catalogs in 1958 for $247.50. On the Sunburst (as they are now called), the top of the body is made from two fitted pieces of wavy or tiger striped maple. She really could not leave anyone indifferent. However, there were options when the upper maple part was made from one piece. Maple, which was used on different guitars, was very different from each other. On some guitars, the wavy finish was very weakly defined, on others it was more pronounced, somewhere you could find huge bands ...
In most cases, the finish has faded a little over time, and has taken on an orange tint, more like a natural mahogany color.
Something like this happened in 1960. The owner of one of the Sunbursts accidentally scratched the lacquer on the case. The damaged area was smeared with red paint. To not be so conspicuous. Over time, the red paint began to fade and the unpainted place was very conspicuous!
The change in finish of the Les Paul Model, now called the Les Paul Standard, was announced in December 1958 by the Gibson Gazette, the company's corporate publication, which featured new models and musicians.
Beginning in 1960, the neck of the Les Paul Standard became flatter. Paradoxically, you won't find the Les Paul Standard in the March 1959 catalog! The model appeared only in May 1960 at a price of $265.00!
LATEST MODIFICATIONS
In 1958, in the same December issue of the Gibson Gazette, more radical versions of the Les Paul Junior and TV were announced. As in the case of Standard a new style the Junior and TV guitars were in production long before the announcement. In fact, we are dealing with a completely new model, with two horns that gave access to 22 frets. The soundboard and neck are the same mahogany with a rosewood fingerboard.
Pickups and controllers also remained unchanged. However, instead of the "Cherry" finish, "Sunburst" appeared - a flow from brown to yellow. A little later, in 1961, it adapts to SG models. The new Junior features a neck-to-body connection at the 22nd fret, making it easier to access the upper registers.
The TV model experienced the same innovations. However, there are slight differences in the finish - from "straw yellow" to "yellow banana".
Like the Les Paul Standard, the new Les Paul Junior and TV did not appear in catalogs until 1960.
The Les Paul Junior 3/4 version also has two symmetrical cutout horns. This model only has 19 frets. The neck connects to the body at the 19th fret.
The early double-cutout Les Paul Specials had the neck pickup almost flush with the neck, and the pickup switch just opposite the volume and tone knobs. Later, the rhythm pickup moved closer to the nut and the pickup selector moved behind the stud taipiece. The second version had 22 frets. Since 1959, the 3/4 version has been produced in rather modest editions.
On various models with two horns, the edges are more or less rounded. Between 1958 and 1961, the heel of the neck changed.
In 1959, as a result of a small shortage of black plastic humbucker spool bodies, cream ones began to be used. That's why from 1959 to 1960 pickups can be found with two black coils, and two pink ones, or one black and one pink. According to their technical parameters, these pickups do not differ from each other. However, completely black and white and white bobbins (they are nicknamed "Zebra") are rare.
In 1960, without any changes, the Les Paul Special and Les Paul TV are renamed SG Special and SG TV, respectively. Having lost the name Les Paul in the name, these models also lost the Les Paul mark on the head. Nevertheless, these models are always remembered in connection with the Les Paul line and are rarely referred to by their real names - SG ("Solid Guitar"), which was staked out in the double cutaway series, which began to be released in 1961.
THE END OF THE ORIGINAL LES PAUL SERIES
In the 50s, oddly enough, wood floors were out of place. As the statistics eloquently testify, a decline in interest began to be observed from 1956, and in 1958-1959 it fell to almost zero. Today it's hard to believe, but the reason is precisely in the "internal" competition between solid models that the company began to produce starting from 1952. Let's not discount competitors - Fender, Rickebacker, etc.
At the end of 1960, a decision was made to revise the Les Paul line, which effectively led to the introduction of two-horn versions in early 1961, which later became known as the SG. Theoretically, the original Les Pauls continued to be produced into early 1961. However, today we will not find a single Les Paul with a serial number of 1961, while Custom, Junior and Special - as much as your heart desires.
According to the Gibson Book, the last original Les Paul was registered in October 1961 (Les Paul Special 3/4). Then the first SGs had already begun to be produced.
Today, it is completely useless to argue about the sonic merits and value of the "old" Les Pauls that musicians like Eric Clapton (Eric Clapton) or Mike Bloomfield (Mike Bloomfield) began to use with great success, as a result of which the original series, with one cutaway, began reprinted seven years later, in 1968. And there is absolutely no need to name all those who played the old Standard, Gold Top or Custom: Al DiMeola (Ol DiMeola), Jimmy Page (Jimmy Page), Jeff Beck (Jeff Beck), Joe Walsh (Joe Walsh), Dewan Allman ( Duane Allman, Billy Gibbons, Robert Fripp...
CHRONOLOGY OF THE EVOLUTION OF THE LES PAUL SERIES
1951 - Gibson begins to master the "solid body", taking Les Paul as an endocer;
1952 - release of the first Les Paul guitars with a trapezoid bridge-tapes combination (the first version);
1953 - Les Paul Model modified with "stud" tailpiece (second version);
1954 Les Paul Custom and Les Paul Junior introduced. The first Les Paul TVs are released;
1955 Les Paul Special released. The Les Paul Model is modified with a tune-o-matic bridge (third option);
1956 - 3/4 Les Paul Junior version released;
1957 - Les Paul equipped with humbuckers (fourth version). They are also put on the Les Paul Custom;
1958 - The Les Paul Model is renamed the Les Paul Standard. Instead of "Gold Top" trim, "Cherry Sunburst" appears (fifth variant). Les Paul Junior and Les Paul TV come with two horns. Release of the 3/4 Les Paul Special;
1959 - new design - double cutaway - of the Les Paul Special models, as well as a 3/4 version with two horns of this model;
1960 - Les Paul Special is renamed SG Special and Les Paul TV becomes SG TV
1961 - The original Les Paul series is discontinued. Instead, the double cutaway model appears, which will later be called SG.
Decided she needed a solid body guitar to compete with the Fender Telecaster. In collaboration with Les Paul, the legendary guitarist and inventor of multi-track recording, Gibson created the first Les Paul with a unique mahogany body and a beautiful maple top inspired by Gibson models.
In 1957, the Les Paul (and subsequently all electric guitars) were significantly improved by the addition of a newly developed two-coil humbucking pickup, which successfully suppressed the induced noise that single-coil pickups were prone to. Since then, Gibson has continued its line of Les Pauls, experimenting with adding and combining new features and innovative designs. Today, the Gibson Custom Shop is reissuing classic vintage Les Paul models while carefully preserving all historical features.
Which Les Paul do you need?
Since 1952, 127 Les Paul models have been produced. In our guide you will find information to help you make the best choice. We will cover the following:
- Why Les Paul Guitars Are So Popular and Who Plays Them
- Let's tell "family stories" so that you can distinguish Custom from Standard
- Let's get acquainted with the functions and characteristics of Les Pauls so that you can decide which instrument with which set of options you need.
Why are Les Paul guitars so popular?
Almost every famous rock guitarist has used a les Paul, from Beck, Page and Clapton to Slash and Zakk Wylde. But proof of the versatility of these instruments is their use in other genres such as blues (Muddy Waters, John Lee Hooker), jazz (Les Paul of course, John McLaughlin), and country (Charlie Daniels, Brooks & Dunn). Here are the 4 main reasons for their popularity. les paul:
- Appearance
- sound
- Ease of play
- Rich story
Reasons to choose a Les Paul guitar
You may be an aspiring guitarist who wants to play a famous instrument. You may be a player who wants to have a great sounding guitar. Or you can be a collector who appreciates the historicity and beauty of classic Les Pauls. Or you can fit all 3 categories. Or not fit at all, just, for some unknown reason, Les Pauls attract you - it's love at first sight.
The main features of Les Paul
Despite the fact that there are many modifications and exceptions, we will describe the main characteristics of Les Paul's
- Solid - mahogany body with domed maple top
- Glued neck
- Rosewood fretboard
- polished lacquer
- 2 humbucker pickups
- Fixed bridge
- 2 tone controls, 2 volumes
- 3-position pickup switch
- 22nd fret
- Scale 24-3/4"
You've probably already noticed that there are exceptions: Les Paul bass, 1970 jumbo acoustic with flat top, LP Junior with single pickup, SG-style Les Paul with double cutaway. But we will "build" our guitar based on a classic set of characteristics.
Characteristics that will allow you to distinguish Les Paul's from each other
Where and how the Les Paul was made, what materials were used, what functional and decorative features are present, all of which will help you to distinguish les Paul guitars from each other.
Below are the characteristics and variations of various guitars.
- Top- most Les Pauls have a domed maple top in the following styles:
- Flame Top (material rating from A to -AAAA)
- Plain Top
- Quilt Top
- solid finish
- Finish color - many options, depends on the model
- Vulture- usually mahogany
- Profile - depends on neck type
- Rounded '50s
- Slim taper '60s
- Profile - depends on neck type
- overlay
- rosewood or ebony
- Inlay - 3 main types:
- points
- Trapeze
- squares
- Two pickup(usually humbuckers)
- Modern Gibson pickups: 490R, 490T, 496R, 498T, 500T
- Historic humbuckers:
- Burstbucker Type 1, 2, 3
- BurstBucker Pro
- '57 Classic
- '57 Classic Plus
- Mini Humbucker
- edging(if any) - the color and number of edging depends on the model
- Frame
- Vulture
- headstock
- accessories
- Finishing materials
- Nickel
- Chromium
- Gilding
- Bridge/tailpiece
- Wraparound (bridge and tailpiece are one piece)
- Tune-o-matic tailpiece/stopbar
- Pens
- top hat
- Speed
- kolki
- Schaller
- Kluson
- Grover
- Finishing materials
Keep in mind that if you have a lot of money, you can order a guitar with any specification from the Gibson Custom Shop.
History of the Gibson Les Paul family
There are 3 models that are part of the history of the Les Paul family: the original Les Paul Model, the Les Paul Custom, and the Les Paul Special.
Gibson Les Paul family timeline
- 1952 - Les Paul Model (named "Goldtop" for its gold finish)
- 1954 - Les Paul Custom and Les Paul Junior
- 1955 - Les Paul Special
- 1958-1960 - Les Paul Standard (often referred to as "Sunburst") - replaced Goldtop
Some Outstanding Additions to the Gibson Les Paul Line
- 1961-1962 - Les Paul SG Custom
- 1969 - Les Paul Deluxe
- 1976- The Les Paul Standard Reissue
- 1990 - Les Paul Classic
Gibson USA
As the name implies, Gibson Les Paul guitars are made in the USA.
To date, 3 main lines are in operation: Les Paul Studio , Les Paul Standard , and Les Paul Custom (roughly speaking, they can be described as Good, Better and Best of the Best). Let's start with the Les Paul Standard.
Additional models
In addition to the three main LP models, there are several others.
Variations
By adding options not found in existing models, Gibson is releasing new models of its instruments. For example, by changing the material of the top, you can create a new model. By replacing "AA" maple with "AAA" maple, Gibson has created a new model - Les Paul Standard Plus. Or, after upgrading maple "AAA" to "AAAA" L.P. Supreme got a model Les Paul Supreme Figured.
Thus, the key to understanding the variety of "branching" models is knowing which options have been added or changed.
Gibson Custom Shop
Gibson was the first major guitar manufacturer to establish a "custom shop" in addition to its main production line. The guitars produced by the Custom Shop are more meticulously crafted and are mostly made by hand. The materials used in production are carefully selected. For example, Gibson USA recently received a shipment of 200,000 board feet of mahogany, of which only 14,000 (or 7%) were selected for production.
VOS reissues (Vintage Origin Spec.)
To meet the needs of Gibson collectors and enthusiasts, the Gibson Custom Shop launched a series of VOS reissues in 2005. The instruments of this series have a special coating of nitrocellulose, during the processing of which a patina is applied and the instrument acquires an antique look. With the help of manual processing, greater ease of play and comfort is achieved. Each VOS model features a mahogany body, a neck set deep into the body for greater sustain and strength, a year-specific neck profile, period-appropriate hardware and electronics.
Nominal models
Usually custom built guitars famous artists, are called "named" (signature model). The Gibson Custom Shop has released a large number of Les Pauls built to exacting specifications. famous guitarists, starting with Jimmy Page Les Paul in 1995. Subsequently, Les Pauls were created for Zakk Wylde ( Zakk Wylde Signature Les Paul- Bull's Eye) and Billie Joe Armstrong ( Billie Joe Armstrong Signature Les Paul Junior).
Epiphone Les Pauls
Almost every Gibson Les Paul model has a "cousin" bearing the Epiphone name on the headstock. The name Epiphone comes from the name of the company's founder Epaminodas Stathopoulo, known as "Epi.". In the 1930s, Gibson and Epiphone were competitors in the production of semi-acoustic guitars and went side by side. In 1957, Gibson acquired the Epiphone. In addition to high-quality Epiphone double basses, there are also Epiphone guitar lines, including the Casino model, which was played by The Beatles.
Les Paul differences from Gibson and Epiphone
- Country of Origin: Gibson's are made in the USA, Epiphone are made in other countries.
- Finish: Gibson uses nitrocellulose varnish - ultra thin, ultra light (the varnishing process takes weeks). It allows the wood to "breathe", becomes thinner over time, and has a good effect on the sound. Epiphone uses a polyurethane finish, which is more practical: the process takes a couple of days, does not require much labor, and the finish is more durable.
- Materials: Gibson uses higher quality materials such as South American mahogany. Epiphone uses cheaper materials or combines some of them, such as using alder and mahogany for the body.
- Sound: Epiphone's sound is darker, bass and mids predominate. Gibson has a lighter sound.
Price ranges
- Inexpensive instruments: Epiphone Les Paul Junior or Epiphone LP Special
- Average Price: Variations from Epiphone Les Paul Custom to Gibson Classic or Studio
- Expensive models: Gibson LP Standard
- Collection models: VOS models, i.e. Les Paul Custom VOS, Les Paul Standard VOS
