Gibson Les Paul
From Wikipedia, the free encyclopedia
| Gibson Les Paul | |
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| Manufacturer | Gibson |
| Period | 1952 — 1960, 1968 — present |
| Construction | |
| Body type | Solid |
| Neck joint | Set |
| Woods | |
| Body | Mahogany, Maple |
| Neck | Mahogany |
| Fretboard | Ebony, Rosewood |
| Hardware | |
| Bridge | Fixed |
| Pickup(s) | 2 Humbuckers (originally single-coils) |
| Colors available | |
| Various (often natural-type finishes) | |
- For the jazz guitarist, see Les Paul.
The Gibson Les Paul is one of the most recognized solid-body electric guitar designs. Developed in the early 1950s, the guitar has become one of the most enduring and popular musical instrument models in the world. Its design has been left virtually untouched for nearly 50 years.
[edit] Origins
The Les Paul model represented a design collaboration between Gibson Guitar Corporation and pop star, electronics inventor, and accomplished jazz guitarist Les Paul. In 1950, after the introduction of the Fender Telecaster to the musical market, electric guitars became a public craze. In reaction, Gibson Guitar president Ted McCarthy brought guitarist Les Paul into the company as a consultant. Les Paul was a respected innovator who had been experimenting with guitar design for years to benefit his own music. In fact, he had hand-built a solid-body prototype called "The Log," a design once widely considered the first solid-body Spanish guitar ever built, as opposed to the "Hawaiian," or lap-steel guitar. Although numerous other prototypes and limited-production solid-body models by other makers have since surfaced, it is known that in 1945-1946, Les Paul had approached Gibson with "The Log" prototype, but his solid body design was rejected.
In 1951, this initial rejection became a design collaboration between the Gibson Guitar Corporation and Les Paul. It was agreed that the new Les Paul guitar was to be an expensive, well-made instrument in Gibson's tradition. Although recollections differ regarding "who" contributed "what" to the Les Paul design, it was far from a market replica of the competing Fender models. However, it is known that since the 1930's, Gibson had offered electric hollow-body guitars. At minimum, these hollow-body electric models provided a set of basic design cues to the new Gibson solid-body, including a more traditionally curved body shape than offered by competitor Fender, and a glued-in ("set") neck, in contrast to Fender's bolt-on neck joint design.
The significance of Les Paul's contributions to his Gibson guitar design remain controversial. The book "50 Years of the Gibson Les Paul" limits Paul's contributions to two: advice on the trapeze tailpiece, and a preference for color (stating that Paul preferred gold as "it looks expensive," and a second choice of black because "it makes your fingers appear to move faster on the fretboard", and "looks classy -like a tuxedo)."
Additionally, Gibson's president Ted McCarty states that the Gibson Guitar Corporation merely approached Les Paul for the right to imprint the musician's name on the headstock to increase model sales, and that in 1951, Gibson showed Paul a nearly finished instrument. McCarty also claims that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased density and sustain, which Les Paul had requested reversed. However, according to Gibson Guitar, this reversal would have caused the guitar to become too heavy, and Paul's request was refused. Beyond these requests, Les Paul's contributions to the guitar line bearing his name were stated to be cosmetic. For example, ever the showman, Paul had specified that the guitar be offered in a gold finish, not only for flashiness, but to emphasize the high quality of the Les Paul instrument, as well. The later-issue Les Paul models included "flame" and "tiger" maple finishes, and once again contrasted the competing Fender line's range of car-like color finishes.
[edit] Models and variations
The Les Paul guitar line was originally conceived to include two models: the regular model (nicknamed the "Goldtop"), and the Custom model, which offered upgraded hardware and a more formal black finish. However, advancements in pickup, body, and hardware designs allowed the Les Paul Gibson to become a long-term series of electric solid-body guitars that targeted every price-point and market level except for the complete novice guitarist. This beginner guitar market was filled by the Melody Maker model, and although the inexpensive Melody Maker did not bear the Les Paul name, its body consistently followed the design of true Les Pauls throughout each era.
Beyond shaping and body design, there are a number of characteristics that distinguish the Gibson Les Paul line from other electrics. For example, in a fashion similar to Gibson's hollow-body instruments, the strings of Les Paul guitars are always mounted on the top of the guitar body, rather than through the guitar body, as seen in competitor Fender's designs. In addition, the Les Paul models offered a variety of finishes and decorative levels, a diversity of hardware options, and an innovative array of electric pick-up options, some of which significantly impacted the sound of electric music. For instance, in 1957, Gibson introduced the "humbucking pickup" which revolutionized the sound of the electric guitar, and eliminated the 60-cycle noise (hum) which had previously plagued amplified guitars.
[edit] "Goldtop" (1952-1957)
The 1952 Les Paul featured two P-90 single-coil pickups, and a one-piece, 'trapeze'-style bridge and tailpiece, with strings that were fitted under (instead of over) a steel stop-bar. The weight and the tonal characteristics of the Les Paul were largely due to the mahogany and maple construction: both are quite heavy woods. In addition, the 1952 Les Pauls were never issued serial numbers and are considered by some as "LP Model prototypes." Interestingly, the design schema of some of these early models varied. For instance, some of the Les Pauls of this issue were fitted with black covered P90 pickups instead of the creme colored plastic covers that we associate with this guitar, even today. Of note, these early models, nicknamed "Goldtops," have begun to gain the interest of collectors, and subsequently, the associated nostalgic value of this instrument is increasing. In fact, re-sale prices of the vintage Les Pauls have begun to compete with already high priced, but more practical (and usable) Les Paul versions issued in later years.
The first Gibson Les Paul issues were far from perfect instruments. In fact, the original Les Paul guitar had problems concerning intonation (correct tuning), neck angle, and pitch. Resolution of these problems became a design focus, and subsequent models saw the trapeze tailpiece evolve into a 'wrap-around' tailpiece (1953), and then into the current Gibson-designed Tune-o-Matic bridge system (1954).
Changes to the Les Paul occurred in conjunction with technological advances in the electrical guitar field. For example, in 1957, the original P-90 pickups were replaced by Gibson's new humbucker pickups, which were designed to mute the sonic influence of magnetic disturbances caused by AC electricity. This innovation improved the both the sound and salability of the Gibson Les Paul line.
[edit] Custom (1954-1960)
The second issue of the Les Paul guitar was introduced to the public in 1954. Called the "Gibson Les Paul Custom," this entirely black guitar was an expertly decorated work of art, and dubbed the "Black Beauty." The Les Paul Custom featured a mahogany top to differentiate the instrument from its "GoldTop" predecessor's maple top. It also featured the new Tune-o-Matic bridge design and a pickup with an alnico-5 magnet in the neck position. In addition, since 1957, the "Custom" was fitted with Gibson's new humbucker pickups, and later became available with three pickups instead of the more usual two.
[edit] Junior (1954-1960) and TV (1955-1960)
In 1954, to widen the solid-body electic market still further, Gibson issued the Gibson Les Paul "Junior." Although previously, the Melody Maker was marketed toward the novice guitarist, Gibson targeted to the beginner again with a Les Paul "Junior" design; however, over time, this Gibson design has proven well-suited for even professional use.
There were marked differences between the Les Paul and the Les Paul "Junior." For instance, although the "Junior's" body outline was clearly reminiscent of the original upmarket Les Paul guitar, the Junior issue was characterized by its flat-top "slab" mahogany body, finished in traditional Gibson Sunburst. The "Junior" was touted as an inexpensive option for Gibson electric guitar buyers: it had a single P-90 pickup, simple volume and tone controls, and the unbound rosewood fingerboard bore plain dot-shape position markers. However, as a concession to the aspirations of the beginning guitarist buyer, the "Junior" did feature the stud bridge/tailpiece similar to the second incarnation of the upscale Gold-Top.
Later, in 1955, Gibson launched the Les Paul "TV "model, which was essentially a "Junior" in what Gibson called a "natural" finish. This finish was actually more of a translucent mustard yellow through which the wood grain could be seen, and was not unlike the finish that competitor Fender called "butterscotch yellow." The idea behind this "TV Yellow" was that white guitars would glare too much on early black and white television broadcasts, whereas TV Yellow guitars would not cast a glare.
In 1958, Gibson made a radical design change to their "Junior" and "TV" models: with the design change came cosmetic changes to these guitars that would later take on enormous importance. To accommodate player requests for more access to the top frets than the previous designs allowed, Gibson revamped both these electric guitar models with a new double-cutaway body shape. In addition, the "Junior's" fresh look was enhanced with a new cherry red finish, while the re-shaped "TV" adopted a new, rather yellow-tinged finish for its new design.
[edit] Special (1955-1960)
The original line-up of Les Paul models was completed with the addition of the "Special," a two-pickup version of the Junior, finished in the TV Yellow colour (but not called a TV model).
In 1959, the Special was given the same new double-cutaway body shape that the Junior and the TV received in 1958. However, when the new design was applied to the two-pickup Special, the cavity for the neck pickup overlapped with the neck-to-body joint. This weakened the joint to the point that the neck could break after only moderate handling. The problem was soon resolved when Gibson's designers moved the neck pickup further down the body, producing a stronger joint and eradicating the breakage problem.
This stabilized version of the Special is offered in Cherry or TV yellow.
[edit] "Standard" (1958-1960)
In 1958, Gibson changed the top finish on the regular Les Paul model from the gold color used since 1952 to the "Sunburst" finish already being used on Gibson's archtop acoustic and hollow electric guitars. These "Sunburst" finished guitars were later referred to as Les Paul "Standards" to differentiate them from the earlier "Goldtop." The hardware specification was the same as that of the '57 "Goldtop," featuring the new humbucker pickups.
[edit] 1961 Les Paul SG
In 1960, Gibson experienced a decline in electric guitar sales due to their high prices and strong competition from Fender's comparable but much lighter double-cutaway design: The Stratocaster. In response, Gibson modified the Les Paul line. This 1961 issue Les Paul guitar was thinner and much lighter than the earlier models, with two sharply pointed cut-aways and a vibrato system. However, the redesign was done without Les Paul's knowledge. When the musician saw the guitar, he asked Gibson to remove his name from the instrument and parted ways with the company. Although this separation occurred in 1960, Gibson had a surplus stock of "Les Paul" logos and truss rod covers, and so continued to use the Les Paul name until 1963. At that point, the SG guitar's name was finally changed to "SG," which stood simply for "Solid Guitar." In addition to the SG line, Gibson continued to issue the less expensive Jr's and Specials (and the Melody Makers) with the newer body style. These were the standard Gibson electric models until the reintroduction of the Les Paul "Standard GoldTop" and the Les Paul "Custom" guitars to the market in 1968.
[edit] Renewed interest in the Les Paul models
In the 1960s, artists such as Mike Bloomfield, Keith Richards, Jimmy Page and Eric Clapton recognized the professional potential of the late '50s Les Paul guitars (particularly the 1958-1960 Standard sunburst models), and gave them wide exposure. However, these guitars featured the thicker, more sustaining tone of Gibson's "humbucking" pickups with the original units known as "PAF" — "Patent Applied For" — pickups. These PAF's were designed by Seth Lover while working for Gibson in 1955, and debuted on Les Pauls in 1957. This innovation became a standard pick up design for Gibson, and subsequently, many other guitar companies followed suit, outfitting their electrics with copy-cat versions of the humbucking pickup. After Clapton and Bloomfield showcased their Gibsons, other professional guitarists jumped on the same bandwagon with their Les Pauls. As a result, over the years, authentic 1950s Les Pauls have become some of the most desirable and expensive electric guitars in the world. In fact, in re-sale today, a 1959 Les Paul in good condition can be easily priced between $100,000 and $500,000. With this value in mind, and with increased pressure from the public, Gibson re-introduced the Les Paul in 1968.
[edit] Les Paul models in the Norlin era
Subsequent years brought new company ownership to the Gibson Guitar Company. During the "Norlin Era," Gibson Les Paul body designs were greatly altered, most notably, the change to the neck volute. Because the Les Paul had the reputation of having an easily broken neck joint, the volute strengthened the neck where it joined the headstock to avert breakage. To further increase the strength, the neck woods were changed from mahogany to a three-piece maple design. The LP body was changed from a one piece mahogany with a maple top into multiple slabs of mahogany with multiple pieced maple tops (also called a "sandwich body').
In this era, as well, Gibson began experimenting with new models such as the "Les Paul Recording." This model is often eschewed by guitar purists: considered too full of "gadgetry." The "Recording" featured low-impedance pickups, many switches and buttons, and a highly specialized cable for impedance-matching to the amplifier. Less noticeable changes included, but were not limited to, maple fingerboards (1976), pickup cavity shielding, and the crossover of the ABR1 tune-o-matic into the modern day "Nashville" tune-o-matic. During the 1970's, the Les Paul body shape was incorporated into other Gibson models, including the S-1, the Sonex, the L6-S, and many other experimental models.
[edit] Deluxe
The "Deluxe" was among the "new" 1968 Les Pauls. This model featured "mini-humbuckers," also known as "New York" humbuckers, and did not initially prove popular.The mini-humbucker pickup fit into the pre-carved P-90 pickup cavity, a feature which helped to standardize production. Interest in this particular Les Paul model was so low that in the early 1980's, Gibson cancelled the line. However, in 2005, the "Deluxe" was reintroduced with more popularity.
[edit] Studio
- See also: Gibson Les Paul Studio
The "Studio" model was introduced in 1983 and is still in production. The intended market for this guitar was the studio musician; therefore, the design features of the "Les Paul Studio" were centered around optimal sound output. This model retained only the elements of the Gibson Les Paul that contributed to tone and playability, including the carved maple top and standard mechanical and electronic hardware. However, the Studio design omitted several stock Gibson ornamentations that did not affect sound quality, including the binding on the body and neck.
[edit] Custom Shop models
Due to the popularity of the Les Paul guitar, hundreds of unendorsed imitations or "copy-cat" versions began to sell in the U.S. and overseas. Due to the lack of U.S. legislation addressing patent infringements or restricting import sales, the cheaply priced imitations created legal and financial problems for the Gibson Guitar Corporation. Although troublesome, there were overseas copy-cat companies that produced very high quality Les Paul and Stratocaster imitations. In fact, during the 1970's and early 1980's, a Japanese company, Tokai, made such superb replicas of the 1957-59 vintage Les Pauls that the imitations themselves became highly regarded. These Tokai replicas not only still retain a solid re-sale value, their accuracy in reproducing both Gibson and Fender classics from the 1950s and '60s spawned a trend in "custom shop" guitars. In the 1980's, as a result of the high demand for vintage models, Gibson itself began to offer a line of "Custom Shop Models," accurate reproductions of early Les Paul designs constructed in a Gibson Guitar Custom Shop.
[edit] Modern Les Pauls
In the mid 1980's, Gibson changed ownership and began manufacturing a range of varied Les Paul models to suit different user needs. The 1980s also saw the end to several design characteristics that were classic to the Les Paul, including the volute and maple neck. However, due to consumer demand, The Gibson Les Paul guitar is available today in an array of choices, ranging from guitars equipped with modern digital electronics to classic re-issue models built to match the look and specifications of the guitar's earliest production runs from 1952 to 1960.
[edit] Les Paul's guitar
At 91 years old, Les Paul himself still plays his personal Les Paul Guitar onstage, weekly, in New York City. As of September 2005, he performs on Mondays at the Iridium Jazz Club on 51st Street and Broadway. Paul prefers his 1972 Gibson "Recording" model guitar, with different electronics and a one-piece mahogany body,and which, as an inveterate tinkerer and bona fide inventor, he has modified heavily to his liking, over the years. A Bigsby-style tremolo is the most visible change.
[edit] Notable Les Paul users
[edit] Les Paul imitations
Although most imitations fall well short of the mark, some companies have come close to perfecting copies. For instance, in the early 1980's, Japanese manufactor Tokai made an imitation Les Paul that featured such a perfect reproduction of the neck that Gibson Guitar Corporation sued them. The lawsuit ended with victory for Gibson with a court-mandate that the necks on Tokai models for the U.S. market had to be replaced. Additionally, in the late '70's, Ibanez also made very high quality Gibson imitations. These imitations were marketed during a time period when guitars of Japanese make were both affordable and painstakingly precise, but lacked the reputation of their US forebears.
Many guitar aficionados feel that the early- and mid-70s marked a low point in the quality of guitars from the major manufacturers including Gibson, which helped contribute to the popularity of the Ibanez copies. These guitars have become known as "lawsuit" guitars and have become somewhat collectible. The actual lawsuit referred to was brought by the Norlin Corporation, the parent company of Gibson guitars, in 1977, and was based on an Ibanez headstock design that had been discontinued by 1976. Ibanez settled out of court, and by 1978 had begun making guitars from their own designs.[citation needed]
[edit] External links
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| Custom ("Black Beauty") · Doublecut · Junior · Melody Maker · Standard · Studio | |
