Correct Weight: Gibson Les Paul Customs 1953

Overview

While Les Paul predicted the popularity of solid body guitar and the the Fender Telecaster popularised the concept, his role in the introduction was most likely restricted to:

putting his name to the guitar;
the infamous Trapeze tailpiece and;
The gold finish. Les says that the gold colour was his idea. "Gold means rich," he explains, "it means expensive, the best, superb." It's interesting to note that while the headstock silk screen names the guitar the "Les Paul Model" these guitars were renamed the "Les Paul Standard" (although the headstock continued to present the guitars with a "Les Paul Model" silk screen). Gibson, missed an opportunity to name the 52-57 models Gold Standards!

The new 1952 Les Paul Model featured:

Solid mahogany with a carved maple top;
Set-in mahogany neck, (the neck angle was quickly revised to address playability issues with the trapeze tailpiece);
Rosewood fretboard;
24.75 " scale length;
Two P-90 soapbar pickups;
Trapeze tailpiece, (replaced by a wrap-around stop bar 53-54);
Independent volume and tone controls;
Gold lacquer finish;
Unbound neck with a slight V profile, (changed to a bound neck during 52).

Gibson, confident now that solid-body electrics could provide a profitable new line, introduced two new Les Paul models in 1954 alongside the Gold-top: the Custom and the Junior.

Les requested Custom be finished in because "when you're on stage with a black tuxedo and a black guitar, the people can see your hands flying with a spotlight on them".

The two-pickup Les Paul Custom looked classy with its all-black finish, multiple binding, block-shape position markers in an ebony fingerboard, and gold-plated hardware, and was indeed more expensive than the Gold-top. The Custom was priced $100 or 34% more than the Les Paul Standard. While the extra features account for the cost uplift pricing was also about positioning the Custom as an exclusive instrument for well-healed professional musicians. The initial Les Paul Customs features include:

all mahogany body with carved top;
black finish;
gold hardware;
ebony fretboard with mother of pearl (MOP) markers;
multiply binding;
split-diamond headstock;
the new ABR-1 tune-o-matic bridge updating the in-effectual integrated saddle/tail-piece used on the 1952 Standard (the gold plated bridge was actually designated ABR-2) and;
a unique pickup configuration with P-90 in the bridge position and an Alnico V P-480 pickup (nicknamed the staple pickup) in the neck position.

While these features remained constant during the initial 1954-62 production run, there were some notable changes:

1957: Humbucker pickups replaced the original single coil pickups. The Standard gained two humbuckers while the Custom went up-spec with three. The three pickup Custom shared the same Treble and Rhythm pickup selection as the Les Paul Standard while the unusual middle position combines the middle and bridge pickups;
1958: The Kluson "waffle-back" tuners were replaced by Grover Rotomatics and the amber pickup selector switch tip was changed to white;
1960: The Black Top Hats control knobs were replaced with Black Top Hats with gold reflector Inserts.

While most Customs carry these features a small number were custom ordered:

Different paint finishes e.g. cherry;
Bigsby tremolo (a common variation both from the factory or as an aftermarket upgrade);
Different switch and control layouts and;
A small number (15-22) of post 57 Customs were ordered with two rather three pickups as owned by Johnny Winter and Joe Bonamassa.

The Les Paul Custom single-cut body was replaced by the SG body shape in 1961.The SG body guitars were more modern looking, popular and importantly, cheaper to produce with its similar construction methods used on all models across the range from the Junior to the top of range Custom. The difference between the original and the SG bodied Custom was black and white.

Ironically, the original single-cut Les Paul range would likely have been consigned to the dust bin of history had it not been for Eric Clapton. Artists like Freddie King, Keith Richards, Mike Bloomfield and Jimmy Page were known to play Les Pauls but Eric took with his sunburst Les Paul Standard with cranked Marshall amplifier to another level, as heard on the seminal John Mayall & the Bluesbreakers featuring Eric Clapton album. Other guitarists were soon looking for their own bursts: Peter Green, Mike Taylor, Joe Walsh, Paul Kossoff, Jeff Beck, Robert Fripp and Jimmy Page (already a Custom player but would soon to be more famously associated with the sunburst Standard)

Gibson noticed the renewed interest in original single-cut Les Paul models and re-introduced model a 1956 style gold top with P-90 pickups and 1957 style Les Paul Custom. Unfortunately, Gibson misread the market. Guitarists wanted original spec sunburst Les Paul Standards rather than the gold top. The Les Paul Custom was was closer to the mark but there were some major construction differences:

maple cap on mahogany body (as per Les Paul Standard) rather than all mahogany body;
14° rather than 17° headstock angle;
thinner neck profile;
2 x 1968 style pickups;
Metal knob "waffle back" tuners;
"witch hat" knobs.

From 1968 onwards the Custom (like the Standard) deviated further from the original build spec with: volutes, pancake bodies, multi piece necks, more prominent use of maple and previously unused timbers like koa and walnut, different bridges (Nashville bridge and Kahlers) and a variety of different pickups. The Custom continued to be a regular Made In USA guitar until the early 2000s when build was transferred to the Custom Shop. These guitars with maple tops (although not visible under the ebony finish), hotter pickups, Grover tuning keys, body weight relief (although usually heavier than Custom Shop models), maple cap (a la Les Paul Standard), speed control knobs and Nashville (rather than ABR-1) bridge.

The Years

Two years after the Les Paul Standard was introduced Gibson's top-of-the-line all black Les Paul Custom was debuted at the NAMM show in July 1954 completing a comprehensive range:

$995 Les Paul Junior (debuting the same year as the Custom);
$169.50 Les Paul Junior Special;
$210 Les Paul Standard (Les Paul model);
And the most expensive Les Paul model at $325, the Les Paul Custom.

To match its price the Les Paul Custom had luxurious specifications befitting a top-of-the-line model such as:

yellow ink six-digit serial number on the back of the headstock;
a split diamond inlay in the headstock;
17˚ headstock angle;
gold plated parts
laminated binding around the body;
Body and neck are one-piece mahogany. Because the body is one-piece, the hole for the pickup wiring is drilled in a straight line from the output jack under the pickups to the pickup selector;
Ebony fretboard with mother-of-pearl position markers;

combination of P-480 (using Alnico V magnets) and P-90 pickups. The P-480 has six individual Alnico V magnets and coils. Making the pickup takes time and money to manufacture. The lead wire extending from the pickup is thin and easily breaks. Another feature of the pickup cover is that there are numbers on the back that indicate the mould number, such as "1" and "2."

The Custom was released primarily focussed on jazz guitarists as a Les Paul thought the all ebony Custom would look good with musicians wearing tuxedos. The lineup also included excellent full acoustic guitars such as the L-5 and Super 400. However, the all-black finish was not that popular with many musicians.

According to "American Guitars" by Tom Wheeler there were the following numbers of Customs built:

1954: 94
1955: 355
1956: 489
1957: 283
1958: 256
1959: 246
1960: 189

1954

The 1954 model in particular has:

truss rod cover overlapping the headstock diamond inlay;
rounded centre bore for the truss rod;
the screws that hold the front side of the L-shaped support of the pick guard in place are flathead screws.
smaller routing for the toggle switch.

1955

Minor changes in the 1955 model include:

replacing the control "speed knobs" with saucer knobs, made by Cornell Dubrier;
capacitor was changed to a different color of "Gray Tiger" capacitor;
P-480 pickup cover has two round indentations;
The slightly truss rod cover doesn't overlap the diamond inlay.

1956

For 1956 there were no major changes to the external specifications but the capacitors were changed to Spragg Bumblebees (400V /.022 uF) and the centre bore on the truss rod cover became a little more acute.

1957

The patent for the Humbucking pickup (P-490) was filed by Seth Lover, June 22, 1955. This pickup, commonly known as "P.A.F" due to the decal applied to the back of the pickup, (although the earliest examples did not have decals applied). The tone of this pickup continues to fascinate guitarists to this day.

While the Les Paul Custom was the first Gibson to be fitted with Humbuckers other up-scale models would be soon fitted with the new pickup including the venerable Les Paul Standard.

1957 was the first major upgrade to the Les Paul Custom with the original pair of P-480/P-90 pickups being replaced with trio of P-490 Humbuckers. While the 3 pickup humbucker Les Paul Custom is the usual configuration there are number of different configurations including:

A rare Les Paul Custom owned by American jazz guitarist John Willard ("Johnny Gray") with three P-90s;
Different switch and control layouts and;
Rare 2 humbucker models.
One of the characteristics of this Gibson logo from around 1957 to 1958 is that many of them had the "i" dot placed high, as shown in the photo. However, after 1957, the Les Paul Custom with three humbuckers appeared and when it was used by famous rock guitarists such as Keith Richards and Jimmy Page, it was reevaluated. The Les Paul Custom became the image of rock establishment.

1958

Starting in 1958, the Les Paul Standard changed from a gold finish to a sunburst finish that emphasised the beauty of the maple top.

However, the Les Paul Custom does not have as many changes as the Standard. The body and neck are one-piece mahogany, and the pickup continues to be equipped with three humbuckers with "PATENT APPLIED FOR" decals. This 3-pickup custom has a centre position.

It is characterized by an out-of-phase sound between center and rear, producing a tone similar to that of a single coil. Gibson may have had an idea to compete with the Stratocaster, but unfortunately this phase sound was never widely utilized. Although the guitar in the photo was made in 1958, the gold plating on the metal parts has not peeled off and is in good condition. Also, the genuine Bigsby B7 is mounted on the

It's a heavy individual. Incidentally, in the early days of Jimmy Page, he used a Les Paul Custom with a Bigsby mounted on it, and when his guitar was stolen, he apparently liked it so much that he put out an ad to find it. When the big speaker is mounted, you can get a metallic resonance and a sound with more overtones.

A 1958 Les Paul Custom with a wire-free tune-o-matic bridge and stop tailpiece. As you can see in the partial photo, the Gibson logo on the head is still in a high position. The three-mounted PAF has a gold-plated cover attached, but This plating itself is weak, and there are few that remain bright. The screws that hold the pickup bobbin to the base are Phillips head screws. The holes for wiring the three PAFs are the pickup Below the cavity, a hole is drilled in a straight line from the jack plate side. From this era, Spragg's wax paper capacitors were used as capacitors. Probably they were no longer used as standard. The toggle switch cavity has a wide inner diameter to ease construction.

1959

The most desirable vintage Standard model is the 1959 model, but when it comes to Les Paul Customs, the 1959 model is not the only one that stands out. However, custom models from 1957 to 1961 with three PAFs mounted have high vintage market value. Also, with a standard model, the neck shape becomes thinner as it approaches 1960, but with a custom model, there are no major changes compared to the standard model. At this age, the position of Gibson's dots became obvious. Return to a familiar place. From 1958, it was also changed to Grover's Rotomatic peg 102G with "PAT. PEND.U.S.A." written on it. Some toggle switches have embossed text and others do not, and the thickness varies, but the division based on model year is ambiguous. The L-shaped support screws that attach the pickguard are also a mixture of negative and positive screws, but many of them are replaced along the way.

1960-61

The title is 1960-61, but the guitar in the photo is a 1961 Les Paul Custom. The standard changed to the SG shape in 1961, but the custom remained in its original shape and was shipped until mid-1961. The first digit of the serial "1" to indicate this. The basic specifications are almost the same as the 1960 version, and the metal top knob that was introduced in 1960 is used for volume/tone. This page

The barrel top knob is an early version with a shallow edge. The pegs are Grover's 102G, which have been used since 1958. The pickup continued to be a PAF in 1961, but it was changed to a type commonly known as a "short magnet," in which the magnet was approximately

number is 3.2 mm shorter than the previous model. However, strictly speaking, not all of the 1961 magnets were short magnets, but were probably mixed together as a transitional period. Jack Plate is 3 ply.

The Artists

Les Paul

The one Les Paul, the creator of the Les Paul, is holding in the photo with Mary Ford is a Stam, which appears to be a prototype. As if to show this, just like the 1953-54 models introduced in the Custom Gallery, the split diamond lay is inserted into the truss rod cover, making the head look a little smaller. Since the toggle switch has not been covered yet, I wonder if the photo was taken just after it was completed. Speaking of Mr. Les Paul, the photo of him holding a gold top from the 1960s is famous, but in the 1950s he often wore a custom model that looked good with a tuxedo, as shown in the photo. At that time, he was probably the jazz guitarist who loved customisation the most.

Jimmy Page

Speaking of Jimmy Page, number 1, number The 1959 (some say 1958) Les Paul Standard, known as the Les Paul 2, is synonymous with it, but he also used a Les Paul Custom in the early days, and a signature model was later released.

This custom was made in 1960 with 3 pickups and a Bigsby, and is said to have been acquired around 1962, and he used this guitar extensively during his time as a session man before joining the Yardbirds. There is also a theory that this custom was the first Les Paul to come to Britain. At first, it seems that the original was used with the exception of removing the front pickup cover, but later a bold modification was made by adding two switches to the side of the pickup selector. It seems that each pickup was turned on/off, and the controls were 3 volumes(front/center/rear) and a master tone. It was stolen on January 7, 1970, while Led Zeppelin were on their way to tour Canada after a concert at the Royal Albert Hall. Page seemed to like the guitar, and even after it was stolen, he didn't give up and put out an ad with a photo of himself and the guitar, soliciting information.

An advertisement by Jimmy Page at the time asking for information on a stolen Les Paul Custom.

Gibson Custom's Jimmy Page Signature Les Paul Custom was released for a limited time in 2008. Equipped with 3 pickups and a Bigsby unit. It had original wiring, the pickup selector had 6 positions, and the selector knob also served as the volume.

Keith Richard

Keith Richards started using Les Paul Customs from around 1966, including the earliest models of Alnico V + P-90 from around 1954-56, the 3-pickup from 1957-58, and the 3-pickup from 1958. was using. The 3 pickups were stop tailpiece specs, and at the time I mostly played the black custom as my main guitar on recordings and on stage. It is said that he had to buy it again several times after it was stolen.

The most famous video is of him playing the recording of "Sympathy for the Devil" by Jean-Luc Godard "One Brass One" released in 1968. The custom model used in the movie had an illustration drawn on the body that was said to have been designed with his girlfriend at the time, Anita Pallenberg. The photo is taken on stage in 1970, and you can clearly see the original illustrations printed on the body. After Mick Taylor joined, his main guitar position shifted to a Telecaster, but it is interesting that his current main regular tuning is the ES-355, which can be said to be a custom version of the ES series.

Stage shot in Denmark in 1970. During this period, he mainly used a Les Paul Custom.

A 1957 Les Paul Custom made around the same time as the one used by Keith Richards. 3 pickups with stop tailpiece specification. The pegs are made by Kluson, but Keith also had a 3-pickup custom with pegs made by Grover.

The Reviews

1956 Custom compared to 1955 Standard

This 1956 custom has a one-piece mahogany body and an Alnico V pickup on the front, and the sound is clearly tight. On the other hand, the maple top 1955 Standard has a wild and fat sound. This is a common feature of the gold tops of that time. Compared to the standard, the custom did not bulge out too much in the low row, giving it a cleaner, jazzier impression. The fingerboard is made of ebony, which gives it a tighter sound. Also, the sound response is fast. You can clearly feel the difference in sound production from the standard. The gold top has a wild, bluesy rock sound. I think it's a good sound to play. Custom produces beautiful chord tones that show that it was designed with jazz in mind. The custom I played this time is no longer a fretless wonder, so it doesn't exactly have the original sound, but it still has a jazzy feel to it. The actual sound is solid, so even if you distort it, the sound of the chord will remain. You can play jazz, and it's also suitable for cutting rock. It would also go well with music like Style Council. I feel that single coil customisation is a guitar that has a wider range of applications than the Gold-top.

1958 Custom compared to 1959 Standard

The 1958 custom centre position is aiming for a single-coil like sound with Fender in mind. It may be the individuality of this individual, but the low is more pronounced than in 1955. On the other hand, the 1959 Standard was truly the king of electric guitars (lol). Higher harmonics are produced compared to custom. That's why a single note produces a beautiful sound like a wind instrument. That is its unique charm. Since the custom guitar is also PAF, I get the impression that the guitar's original sound comes out even more honestly. However, what differs from the standard is the material and coating. sunburst is a tree

The background is transparent, but the custom one is filled in just like the gold top. When I played them again and compared them, I felt that this had a big effect on the sound. I think this is connected to the standard's richness of overtones and sustain. Compared to the standard, the custom sound is tighter, doesn't scatter, and has a faster rise, making it suitable for playing solos such as single-note riffs. Some people often find that custom 3-pup models don't have a good playing feel, but I don't mind this at all. Both are Les Pauls, but their looks are different. A It has a coolness that is hard to put down.

The Detail

P-480

The early Les Ball Custom had a slightly different pickup built into the neck position than the P-90. The name of this pickup, which was also used in a small number of models such as Birdland and L-5, is P-480 (PU-480), giving it the nickname "alnico pickup" because of its appearance.

The P-480 was developed by Seth Lover, who is also the creator of humbucking pickups, and he says that he was directed to develop it directly by Ted McCarty. When the Les Paul model was created, some of the guitars he used had been modified by himself. All guitar bridge pickups were P-90s, while some models had a D'Armond Model 2000 pickup, better known as the Gretsch Dynasonic, in the neck position. It is.

The P-480 developed by Seth Lover can be called the Gibson version of the Model 2000 (the reason the P-480 was used only in the neck position was probably to reflect Les's preferences). The reason lies in the fact that magnets are used in Les Paul pieces.

While the magnetic field of the P-90, which has a steel pole piece, spreads horizontally, the magnetic field of the magnetic pole piece is generated in a more three-dimensional direction, and the guitar tone has a large strength and weakness, and the contour is It becomes something special.

The P-480 is based on the P-90 and incorporates an adjustable magnetic pole piece. Specifically, approximately 10,000 turns of an enamel AWG #42 gauge coil, similar to that of the P-90, is wound around a thin, spread-out bobbin. Set in the center are six adjustable pole pieces using Alnico V magnets. It has a bar shape with a square cross section, and is approximately 1 inch long, several times the height of the bobbin, and guides the magnetic field in a three-dimensional direction.

With the advent of humbuckers, the labor-intensive P-480 disappeared, but was reinstalled in the neck position of the 1954 Les Paul Custom reissued in 1972. This pickup is very well made and has almost the same construction as the original. It also uses the SPN coil used in the P-90 from a major feature of the Model 2000 is the six adjuster tabs the same period.

Origin of Black Beauty and capacitors

Spragues's Black Beauty, which Gibson started using in the 1960s.

Same resistance/capacity but version labeled 4TM-S22.

Only 5% error. 183P

Sprague Bumblebee used in the 1950s

"Black Beauty is synonymous with Les Ball Custom. It's because of the beautiful black paint that goes well with tuxedos. It's generally said that this is why was called that. It's no surprise that it was described that way because of its looks. I will continue with this as it is a very elegant design. This is a sales campaign that clearly shows the beauty of Les Ball Custom.

However, there is another theory that it originates from the Spragg condenser "Black Beauty" used in the remanufactured Les Paul Custom from 1968.

Indeed, the word "black beauty" was not used at all in Gibson's catalog when the Les Ball Custom was first released. The color is written as solid ebony. In contrast, Spragg's catalogs from the 1960s clearly listed the model name as Black Beauty. Could this model name be used to describe the Les Paul Custom? It certainly seems like there's a point to it.

Now, this Spragg capacitor, Black Beauty, was used in Gibson guitars, and is a 400V/022 F (160P) product with a tolerance of +10%. I've never seen any other Black Beauty mounted on a Gibson guitar, but there are other versions with different opening pressure/capacity. These are the one labeled "4TM-S22" in the photo and 183P, which has an error of only 5%.In terms of capacitor performance, 183P is better, but perhaps this is to reduce the error? It is considerably larger than 160P.The smaller the error, the higher the unit price of parts would be.It was probably not adopted for guitars. Furthermore, Black View

There is also a version of the tee with yellow text. However, it has not received much attention because it has never been used in Gibson guitars. It is not clear whether the synonym "Black Beauty" originates from this capacitor, but the 400V / 022 MF (160P) Black Beauty, which is officially used in Gibson guitars, is currently unavailable. It's difficult.

By the way, Spragg's "Bumble Bee", which was used in Gibson guitars from around 1956, has a slight change in appearance even though it has the same pressure resistance and capacity. If you look at the base of the capacitor, you can see that the oldest one is the version with a round bulge at the base. Next Is the one with a cylindrical base. Then there are bumblebees with nothing attached to the base.

Basically, Bumblebee is an oil condenser (*it seems that there are some differences), but Black Beauty uses personal car paper, so Announce it is a successor model. Is sound quality is alerent

The change in sound quality caused by capacitors is often debated, bu it can be assumed that Gibson has been aware of the change it adds to the sound for a long time. One of the reasons is that it was made around 1958.

Since then, Les Paul Customs have started using capacitors made by Sprag other than Bumblebee (withstand voltage/ capacity 150V/02 F). This may be due to the use of three microphones, but the condenser is not used in the standard, and changing the condenser can change the sound quality and harmonize.

Maybe he was trying to get it out. One of the great joys of vintage guitars is that you can imagine so many different things with just one small part, including the origin of Black Beauty.

ABR-2

Most people probably know that the Tune-O-Matic, an octave-adjustable bridge developed by Gibson, had the model number "ABR-1." With the introduction of this bridge, it became possible to make more severe settings, greatly improving the playability of the Les Paul. However, in the 1950s, the ABR-1 only had a saddle on the bridge, and it seems that users who were not used to using it often ended up dropping and losing the saddle.

In order to accommodate such users, Gibson has continued to sell replacement parts for many years. This is a 1977 replacement parts catalog, but if you look closely you will see the familiar name ABR-1N printed on the nickel tune-o-matic assembly, but it is used for the Les Paul Custom. A gold-plated assembly like this is labeled ABR-2G. In other words, does this mean that the bridge attached to the custom is officially ABR-2 However, the designation ABR-2 is no longer used today, and many people probably didnot know that the gold-plated bridge was ABR-2.

Fretless Wonder

The catalog in the photo is of a Gibson made in 1955, the year after the Les Paul Custom was released. It seems that the selling point of the Les Paul Custom featured here was not the tune-o-matic bridge, which dramatically improved playability, but the appearance of the fretless wonder. The words "THE FRETLESS WONDER" jump in large letters as a catchphrase to introduce the customisation.

Its description touts its high playability and wide tonal range, but unfortunately not many guitarists have benefited from the fretless wonder. When I played the Fretless Wonder custom, which is still an original, I found that it was certainly easy to play the lateral movement, but it was difficult to play the bending etc. unless I was used to it. However, at the time of its release, it was hard to imagine that the Les Paul Custom would later be used by rock musicians, and the main target audience was jazz guitarists who played with clean tones, so the Fretless Wonder was It must have been groundbreaking, just as the catalog says.

However, one thing that bothers me is that the Fretless Wonder was used in reproduced Les Paul Customs made after 1968 when rock music was popular all over the world. It is a mystery whether this was due to a request, a desire to faithfully reproduce the vintage spec, or whether Fretless Wonder had a custom identity.

Changes in body material and sound quality

Although this is not limited to Les Paul Customs, the wood used for the neck and body changes with the times. Custom models in particular have undergone many changes, as in the 1950s they had a 1P mahogany neck and 1P mahogany body. Let's take a look at the history of neck and body materials, and summarise the characteristics of sound quality. Les Paul Customs have generally used ebony fingerboards, with the exception of the maple fingerboard option. This remained unchanged until 1989.

In the 1950s, 1 piece mahogany from Honduras was used for the neck and body. This creates character in the sound, especially the highs. is. The rise in sound also tends to be faster than in other generations.

This may also be related to aging. In the middle of 1957, the pickups changed from single coils to humbuckers, but the characteristics of the mid to high mids remained the same; both had good sound clarity, no overtones, and chord tones. You can feel the characteristic that it sounds beautifully.

When it was re-produced in 1968, the top was changed to a two-piece maple. This changes the sound quality to feel closer to standard. By having maple on top, the overtones increase and the sustain feels even longer. Changes in the pickup have a big effect on the sound quality, but it feels like you can get a fatter sound than in the 1950s. Also, from 1969, 3-piece mahogany neck/1-piece mahogany body, or 3-piece mahogany.

It changes to a pancake body (a 3-piece mahogany body with thin maple sandwiched in between), but some users feel that this change in ply count is not that big, while others feel it is large.

However, you won't feel as much of a difference as you did in the 1950s and 1960s. Makoto Ayukawa, who owned both the 1968 and 1969 models, said during his lifetime that the 1969 model had a little more jerkiness.

From around 1975, three-piece maple necks became available, and the number of heavy customizations began to increase. This maple neck tends to make the sound tighter, but due to the weight of the body, there are many that can produce a heavy low range. To put it simply, the sound quality was a bit harsh, but it was the sound quality that was preferred by HR/HM guitarists at the time. It can be said that customs from the maple neck era go well with heavy distortion sounds.

Around 1977, the body changed to a one-piece mahogany body, but the neck remained 3-piece maple. You will feel that the basic tone has not changed much from the model from around 1975. However, there are still many heavy instruments in this age group, and they tend to be preferred by rock guitarists.

As mentioned above, the Les Paul Custom also has great changes in sound quality due to the neck and body materials. It may be difficult to play all eras, but try playing and comparing various customisations within your budget and find the one that suits you best.

Les Paul Customs have generally used ebony fingerboards, with the exception of the maple fingerboard option. This remained unchanged until 1989.

In the 1950s, 1 piece mahogany from Honduras was used for the neck and body. This creates a distinctive sound, especially in the high mids or mids. The rise in sound also tends to be faster than in other generations. This may also be related to aging. In the middle of 1957, the pickups changed from single coils to humbuckers, but the characteristics of the mid to high mids remained the same, with both having good sound clarity, no overtones scattering, and chord tones. You can feel the characteristic that it sounds beautifully.

1954~61: 1P mahogany neck & 1P mahogany body
1968-69: 1P Mahogany Neck & 2P Maple Top / 1P Mahogany Body
1969: 3P Mahogany Neck & 3P Maple Top / 1P or 3P Mahogany Body
Around 1975: 3P maple neck & 3P maple top/3P mahogany body
Around 1977: 3P maple neck & 3P Maple Top, 1P mahogany body

3 pickup options

The Les Paul Custom, which was finally announced at the NAMM show in July 1954, was equipped with two pickups, the P-480 and P-90, as you may know. Later, with the development of humbuckers, the look changed significantly from the middle of 1957. As befits a flagship, three humbuckers are now mounted. The reason for this specification seems to be that it was inspired by Fender's Stratocaster, but it was also influenced by the ES-5, also known as the "Switchmaster." Although extremely rare, there is also a Les Paul Custom from the 1950s that, like the ES-5, had a lever-type slide switch, independent volume and tone for each pickup (in other words, six knobs!?).

It seems that even custom-made models were made with different wiring from the normal circuits.

The three humbuckers lined up on the body have an overwhelming presence, and when you think of a Les Paul Custom, this look is probably the first thing that comes to mind for some fans.

However, the centrally placed pickup can interfere with picking if you are not used to it, and many players find it difficult to play. Still, some players were attracted to this look and used it in various ways, such as setting the centre pickup low or leaving only a dummy cover.

For this reason, you can also find Les Paul Customs from the late 1950s in which only the unused centre PAF has been replaced. This probably involved not only performance but also sound. As some of you may know, it is actually a 3PU Les Paul.

An innovative attempt was made on the custom circuit. The 3PU still uses the conventional toggle switch, but in the center position (rhythm side only front, treble side only rear), a mixed tone of center + rear is output. It was wired. What's more, by reversing the magnetic poles of the center pickup, it was possible to create a phase-out sound. As a result, it was possible to produce tones suitable for cutting that cannot be obtained with the standard. Gibson also touted its ability to produce such a wide variety of tones. However, some players apparently thought the unfamiliar trebly tone was a malfunction, and the initial reviews were not positive.

However, later rock musicians noticed the cool looks, sound, and possibilities of this 3PU and started using it.

Legendary rock guitarists such as Keith Richards, Jimmy Page, and Eric Clapton. Many other legends such as Albert Lea, Pat Martino, Danny Gatton, Peter Frampton (a modified 1954 model), Robert Fripp, and Ace Frehley (customized 2PU to 3PU) have also taken part. did. Some guitarists even modified their instruments and used their own circuits to create unique sounds. Nowadays, it is common to add coil tabs and mini switches, making it possible to build even more complex circuits, and even some enthusiasts are devising original circuits to create a wide range of tones. If you are aiming for a more unique Les Paul custom player, a 3 humbucker is also interesting. Please try it at least once.

body and neck are one piece mahogany;
3 "Patent Applied For" (PAF) pickups were installed as standard;
The centre position on the pickup selector is characterised by an "out-of-phase" sound produced by the middle and bridge pickups producing a sound similar to that of a single coil. Gibson may have got an idea to compete with the Fender Stratocaster. Unfortunately, this out-of-phase sound was never widely utilised;

Changes in Les Paul Custom specs

	NECK	BODY	TUNERS	PICKUPS	CAPACITOR	BRIDGE & TAILPIECE	VOLUME & TONE KNOBS	FINISH	OTHERS
1954	1P mahogany ebony fingerboard	1P mahogany	Kluson 501VX (resin button)	P-480 (F) /P-90 (R)	Cornell Dubrier" Gray Tiger/400V 0.02 uF.	ABR-1 (wireless), aluminum tailpiece	Barrel (speed) saucer	Ebony Black	Les Paul Custom Announcement, Bigsby Options
1955							Saucer
1956					Sprague Bumble Bee 400V 0.022 u.f.
1956~57									Changed to 3 humbucker specification from mid-1957
1957-58			Grover 102G (with Pat stamp)	P-490 x 3/PAF (Long Magnet)	Sprague paper wax capacitors were also used from around 1958 150V 0.02 uF
1959
1960				P-490 x 3/ PAF (changed to short magnet)			Metal Top		Only 6 wine red bottles produced
1961									Changed to SG shape in the middle of 1961
1968-1969		2P maple top/1P mahogany back	Grover 102G (with Pat stamp)	P-490×2/Sticker Numbered (Square

Although the guitar in the photo was made in 1958 the gold plating on the medal parts has not peeled off and is in good condition. Also the factory Bigsby B7 is installed. It's a heavy guitar.
<Photo>
In the early days Jimmy Page used a Les Paul Custom with Bigsby. When it was stolen he took out an ad to find it. When a Bigsby is installed the guitar gives off a metallic resonance producing more overtones.
<Photo>
The photo above is a 1961 Les Paul Custom. The Les Paul Standard changed to the SG shape in 1961 but the original shape Les Paul Custom continued to be shipped until mid 1961. The first digit of the serial number is a "1". The specifications are almost the same as the 1960 version with black metal reflector "barrel-top" knobs used for volume/tone. The barrel top is an early version with thin edges. The tuning keys are Grover's 102G. While the pickups were PAF but with a "short-magnet" approximately 3.2 mm shorter that the previous pickups. 1961 was a transition period for mixture of short and long magnet pickups used during 1961. The jack plate has 3 screws
The hum bucking pickup (P-490) designed by Seth Lover on 22 June 1955 was mounted on the Les Paul Standard and Custom from 1957. It is commonly known as the "PAF" due to the sticker applied to the pickup base. These pickups have captivated many guitarists with their tone to this day. The earliest pickups did not have the decals applied.
The Les Paul Customs were shipped with single coil pickups until early 1957. The three coil (?) model was being shipped. Incidentally, there is a photo of American Jazz guitarist John Willard "Johnny" Gray holding a rare Les Paul Custom fitted with 3 P-90 pickups. It seems that a three pickup model existed before the 1990s. One of the features of the 57-58 models is that many of them have the Gibson logo "i" dot placed high on than usual.
The 1958 models feature wireless ABR-2 (gold plated ABR-1) bridges with a stop bar. The three PAFS are gold but the plating is very thin. Few specimens remain bright. Brass screws are used to secure the pickup bobbin to the base. The wiring hole is drilled in a straight line form the jack plate to the pickup selector switch. Models from the era used Sprague wax paper capacitors (the Standard was fitted with bumblebees).
The toggle switch cavity diameter was increased to ease wiring.
The Kluson tuners were replaced by Grover Rotomatic 102G with "Pat. Pend. USA" written on them. Some selector "poker chip" have embossed text. Some do not. A mixture of flat or Philips head screws are used to attach the pick guard to the "L mounting bracket".
The mahogany body provides a rich mid-range with a warm, clear tone.
Since 1957, the Les Paul Custom has been equipped with three humbuckers and has been modified to more luxurious specifications. At the time, 3-ham models were standard, but some users requested rare 2 pickup models. Because of the body and 7 degree head angle, the sound is different from the 1968 reissue model.
Keith Richards began using Les Paul Customs around 1966, using the earliest models of the Alnico V+P90 from 1954-56, a 3-pickup from 1957-58 and a 3-pickup from 1958. The 3-pickup was a stop tailpiece specification, and at that time I mostly played the black custom as my main guitar on recordings and on stage. It is said that he had to buy it again several times after it was stolen. The most famous video is of him playing the recording of "Song of the Devil" by Jean-Luc Godard in an One Plus One" released in 1968. The custom model used in the movie had an illustration drawn on the body that was said to have been designed with Anita Pallenberg, who was then. The photo is taken on stage in 1970, and you can clearly see the original illustrations printed on the body. After Mick Taylor joined, his main guitar position shifted to a Telecaster, but it is interesting that his current regular tuning is the ES-355, which can be said to be a custom version of the ES series.
The 1958 custom center is aiming for a single-coil-like sound with Fender in mind. It may be the individuality of this individual, but the low is more pronounced than in 1955. On the other hand, the 1959 Standard was truly the king of electric guitars (lol). Higher harmonics are produced compared to custom. That's why a single note produces a beautiful sound like a wind instrument. That is its unique charm. Since the custom guitar is also PAF, I get the impression that the guitar's original sound comes out even more honestly. However, what differs from the standard is the material and coating. sunburst is a tree
The background is transparent, but the custom one is filled in just like the gold top. When I played them again and compared them, I felt that this had a big effect on the sound. I think this is connected to the standard's richness of overtones and sustain. Compared to the standard, the custom sound is tighter, doesn't scatter, and has a faster rise, making it suitable for playing solos such as single-note riffs. Some people often find that custom 3-mic models don't have a good playing feel, but I don't mind this at all. Both are Les Pauls but their looks are different. A It has a coolness that is hard to put down.
Origin Of Black Beauty and capacitors
• The term "Black Beauty" comes of is loks, from the beautiful black paint that goes well with It is generally said that it was called
a tuxedo, and because of its elegant design. It's no is synonymous with mountains.
o bessurprise that the Les Paul Custom is that because thing, right? But there's also a Spragg condenser 1 that was Beauty® reproduction Les Paul Custom from used in the "Black the Les Paul Custom Black 968. Indeed, there is a theory that View. In the original Gibson catalog when the it originates from the word "tea" was not used at all as an "Tee" was released, expression to represent the color. It says Solid Ebony.
On the other hand, in the 1960s Spragg catalog clearly listed!the model name Black Beauty:! wonder if this model name was used, to describe "responsive", "unexpected", and "custom"
It certainly seems like there's a point to it. Now, this Spragg capacitor, which was black beauty used in Gibson guitars, is a 400V/022 # (160P) product with a tolerance of +10%. I've never seen any other Black Beauty mounted on a Gibson guitar, but there are other versions with the same pressure/capacity. These are the one in the photo labeled "4TM-S22" and the 183P with an error of only $5%. In terms of capacitor performance, 183P is better, but it is considerably larger than 160P, perhaps because it reduces errors. It was probably not adopted for guitars because the smaller the error, the higher the unit price of parts would be. More black views.
There is also a version of the tee with yellow text. However, because it was never used in Gibson guitars, it did not attract much
attention. It is unclear whether the synonym "Black Beauty" originates from this capacitor, but it is the 400V 022 UF (100P) with red letters that was officially used in Gibson guitars.
Black Beauty is now difficult to obtain. By the way, it was used in Gibson guitars from around 1956. Spragg's "Bumble Bee" also has a slight change in appearance, even though it has the same voltage resistance/capacity. If you look at the base of the capacitor, you can see that the oldest one is the version with a round bulge at the base. Next is the one with a cylindrical base. Then there are bumblebees with nothing attached to the base.
Basically, it is a Bumblebee oil condenser (*It seems that some
parts are different), but Black Beauty uses personal car paper, so
Although it is a successor model, its sound quality is different.
The change in sound quality caused by capacitors is often debated, but it can be assumed that Gibson has been aware of the change it adds to the sound for a long time. One of the reasons for this is that Les Paul Customs made around 1958 began to use a different Spragg capacitor (withstand voltage/capacity of 150V/02..F) than Bumblebee. It is possible that this was due to the fact that there were three microphones, but the condenser was not used in the standard, and by changing the condenser it may have been an attempt to create a change in sound quality or harmony. Including the origin of beauty, we can imagine many things with just one small part.
It can be said to be one of the great pleasures of playing a vintage guitar.
ABR-2
Most people probably know that the Tune-O-Matic, an octave-adjustable bridge developed by Gibson, had the model number ""ABR-1." With the introduction of this bridge, it became possible to make more severe settings, greatly improving the playability of the Les Paul. However, in the 1950s, the ABR-1 only had a saddle on the bridge, and users who were not used to using it often ended up dropping and losing the saddle. In order to accommodate such users,
Gibson has continued to sell replacement parts for many years. This is a 1977 replacement parts catalog, but if you look closely you will see that the familiar name ABR-1N is printed on the nickel tune-o-matic assembly, but it is used for the Les Paul Custom. A gold-plated
assembly like this is labeled ABR-2G. In other words, does this mean that the bridge attached to the custom is b officially ABR-2? However, the designation ABR-2 is no longer used today, and many people probably did
fretless wonder
The catalog pictured is from the year after the Les Paul Custom was released. It's a Gibson made in 1955. It seems that the selling point of the Les Paul Custom featured here was not the tune-o-matic bridge, which dramatically improved playability, but the appearance of the fretless wonder. The words "THE FRETLESS WONDER" jump in large letters as a catchphrase in the description introducing the customization.
Its description touts its high playability and wide tonal range, but unfortunately not many guitarists have benefited from the fretless wonder. When I play the Freres Wonder Custom, which is still the original version, I find that lateral movements are certainly easy to play, but bending is difficult to play unless you are used to it. However, at the time of its release, it was hard to imagine that the Les Paul Custom would later be used by rock musicians, and the main target audience was jazz guitarists who played with clean tones, so the Fretless Wonder was It must have been groundbreaking, just as the catalog says.
However, one thing that bothers me is that the Fretless Wonder was used in reproduced Les Paul Customs made after 1968, when rock music was popular all over the world. It is a mystery whether this was due to a request, a desire to faithfully reproduce the vintage specs, or whether Fretless Wonder had a custom identity.
Changes in body material and sound quality
Although this is not limited to Les Paul Customs, the wood used
Here, let's for the body changes with the times.
The 1950s were 1P once again
Mahogany Necklaces, especially Casta
There are many changes due to the body.
summarize the changes in neck and body materials, and organize the characteristics of sound quality.
Generally, ebony fingerboards have been used. This remained unchanged until 1989. In the 1950s, 1 piece mahogany from Honduras was used for the neck and body. This creates a distinctive sound, especially in the high and mid ranges. The rise in sound also tends to be faster than in other generations. This may also be related to aging. In the middle of 1957, the pickups changed from single coils to humbuckers, but the characteristics of the mid to high mids remained the same, with both having good sound clarity, no overtones scattering, and chord tones. You can feel the characteristic that it sounds beautifully.
When it was re-produced in 1968, the top was changed to a two-piece maple. This changes the sound quality to feel closer to standard. By having maple on top, the overtones increase and the sustain feels even longer. Changes in pickups also have a large effect on sound quality, but the result is a fatter sound than in the 1950s. Also, from 1969, 3-piece mahogany neck/1-piece mahogany body, or 3-piece this ply pancake body (thin maple)
However, some users feel that howara is not large, while others feel that it is large. However, it should not feel like it was made in the 1960s or 1980s. 1968, I have one made in 1969
1989
He has also said that he doesn't like it. From around 1975, it became a 3-piece maple neck, The number of customizations will also increase. This maple neck tends to make the sound tighter, but because it is in the main body, many individuals can get la wide range. To put lil simply, the sound quality was typical of Sanri, but it was the sound
quality that was preferred by HR/HM guitarists at the time. I can
say that it goes well with the custom maple neck distortion sound.
Dew.
From around 1977, the body changed to a one-piece mahogany body.
Although it has been changed, the neck remains 3P maple. You will feel that the basic tone has not changed much from the model from around 1975. However, there are many heavy individuals in this age group, and it is likely that they are rock guitarists
tend to be preferred. As mentioned above, the Les Paul Custom has neck, body, There is also a big change in the sound quality of the materials. I don't think it's possible to make it suitable for all ages, but try playing various customisations.
3 Pickup custom possibilities
The Les Paul Custom, finally announced at the NAMM show in July 1954, was equipped with two pickups, the P-480 and the P-90. Later, with the development of humbuckers, the look changed significantly from the middle of 1957. As befits a flagship, three humbuckers are now mounted. The reason for this specification is probably due to Fender's Stratocaster in mind, but there must also have been an influence from the ES-5, also known as the "Switch Master." Although extremely rare, there is also a Les Paul Custom from the 1950s still in existence that, like the ES-5, had a lever-type slide switch and independent volume and tone for each pickup (in other words, six knobs!?). ing.
It seems that even custom-made models were made with different wiring from the normal circuits.
The three humbuckers lined up on the body have an overwhelming presence, and when you think of a Les Paul Custom, this look is probably the first thing that comes to mind for some fans.
However, the centrally placed pickup can interfere with picking if you are not used to it, and many players find it difficult to
For custom circuits, the conventional toggle switch was used even with the 3PU, which was a groundbreaking attempt, but in the center position (only the front on the rhythm side and only the A on the treble side), It was wired so that the centre + rear mixed tone was output. What's more, by reversing the magnetic poles of the center pickup, a phase-out sound was created. As a result, I was able to produce a cutting tone that was not available with the standard.
Gibson also touted its ability to produce such a wide variety of tones.
However, it appears that some players thought the unfamiliar trebly tone was a malfunction, and the initial reviews were not positive. However, later rock musicians noticed the cool looks, sound, and possibilities of this 3PU and started using it. rock guitarists such as Keith Richards, Jimmy Page, and Eric Clapton. Many other legends such as Albert Lea, Pa Martino, Danny Gatton, Peter Frampton (19) (modifiec
28 year model), Robert Fripp, and Ace Frehley's custom made into 3PU) have been acquired. did. There are also.
Years
The most popular Standard model is the 1959 model. When it comes to Les Paul Customs, the 1959 model is not the only one that stands out. However, custom models from 1957 to 1961 with three PAFs mounted have high vintage market value. Also, with a standard model, the neck shape becomes thinner as it approaches 1960, but with a custom model, there are no major changes compared to the standard model. At this age, the position of Gibson's "i" dot is starting to become visible

The first Customs had the single cut-away body shape of the Standard. Until 1962 when the Les Paul Custom, like the Standard, changed to the SG shape.

Les Paul Custom was announced at the NAMM show in July 1954. It is said to have been developed in response to Les Paul's request for a "black guitar that looks like (and looks good on) a tuxedo." Since TVs were black and white at the time, there is an anecdote that the finish was designed with consideration to how the film would look on TV. The Les Paul Custom, which was created based on a proposal from Les, has specifications inherited from the top-of-the-line archtop model, the "Super 400", and the head has a sprue.

The pickup on the neck side was equipped with a P-480 (PU-480), which uses highly magnetic Alnico V developed by Seth Lover. It also features a newly developed tune-o-matic bridge, mother-of-pearl block inlays on the fingerboard, gold parts, and white and black accents around the head and body. Equipped with laminated binding and specifications befitting a top-of-the-line solid body model.

Furthermore, since it was initially targeted at jazz guitarists, its selling point was the low-height frets, dubbed the "Fretless Wonder," which offered a smoother playing feel. However, it is rare to find an original fretless wonder that has not spread to jazz guitarists. By the way, the price at the time of release was $325, and the 1954 Custom was sold for a short period of time, with fewer produced than after 1955.

There is still no serial number engraved on the back of the head, and the date on the existing original pot shows the 23rd week of 1953. Furthermore, compared to the commercialised Les Paul Custom, the headstock was shorter (approximately 10 mm shorter than the 1961), and the bridge position and body thickness were also slightly different (approximately 2mm thicker than the 1961 model), and is probably a valuable prototype produced between 1953 and early 1954.

The body is made of lightweight one-piece Honduran mahogany. Parts such as pickups were made in 1954. It seems that the same product as the released product version is used, but compared to the custom made in 1955, the color of the Cornell Dubrier Wax Paper Condenser Gray Tiger is different. The owner, says, "It has quite a powerful sound. He says that the sound has a strong presence."

The head angle was approximately 17 degrees, and the neck insertion angle seemed to be slightly different, but this may be within the margin of error. The tuner is a high-end Sealfast Kluson model with a plastic keystone button. head-

The logo is made of mother-of-pearl, and the fact that there is no space between the "o" marks is also a distinctive feature, but is this also an individual difference? Another distinctive feature is that the split diamond inlay in the veneer of the head is tucked under the truss rod cover. There is a photo of Les Paul holding a custom model with a head similar to this one. This is a valuable piece with many of the earliest specifications visible throughout, such as the barrel knob and cloth-coated shield wire. It is also extremely valuable as a document when discussing Les Paul Custom.

Staring in 1958, The Les Paul Standard changed from gold to a sunburst finish that emphasised the beauty of the maple top. However, the Les Paul Custom has also many changes:

Reissues

To cater for the demand of more accurate recreations of the vintage guitars, Gibson offered limited runs of "pre-historic" guitars during the ‘80s. In 1993 Gibson opened their Custom Shop dedicated the creation of Reissue/History/Custom guitars including a '57 Custom Black Beauty with 3 Pickups. While the Custom Shop may be dedicated to the build of historic reissues but taken years to recreate historically accurate models. There is a complication in creating historic reissues. Not only do you need to know what the spec is (there was a fair bit of variation during the vintage builds), but you need to specify the parts used at the time and find a supply chain to manufacture the parts in quantity. Indeed some materials like Brazilian Rosewood are only available on a limited basis and at a high cost. Since the 2015 True Historic Range the '57 Custom has become much more accurate with the standard of Les Pauls from 2016 onwards more in keeping with the 50's level of craftsmanship. The Made In USA model was transferred to the Custom Shop in 2003.

1957 Reissue Les Paul Custom True Historic Features:

True Historic Plastics
New Pickup Covers
Double-Carved and hand-sanded Top
Double-Carved and hand-sanded Neck
"Broken" Peghead Edges, Smoother Edges Throughout
Original, Thinner Holly Peghead Venner
A Complete Finish Overhaul [new process, dry and wet sanding by hand to create a thinner, "vintage-style" finish]
Playability ["True Historic Les Pauls feature updates to the fret and fingerboard dressing process"; hand filled rolled fingerboard binding]
Scraping Process [no scraping line on the neck, "deeper" scraping line on the body]
Hide Glue Top Construction
"Finally—The Last Step Is Just as Important as The First" (referring to additional steps at build and set up)

Body

Type: Solid Body
Colour: Ebony
Orientation: Right Handed
Body Shape: Les Paul
Body Material: 1-Piece Solid Mahogany
Binding: Multi-ply
Body Finish: Nitrocellulose Lacquer; Murphy Lab Ultra Light Aged
Weight Relief: None

Neck

Neck Material: Solid Mahogany
Neck Shape: Chunky C-Shape (50s Rounded Medium C)
Scale Length: 628.65 mm / 24.75 in
Fretboard Material: Solid Ebony
Fingerboard Radius: 304.8 mm / 12 in
Number of Frets: 22
Fretboard Inlays: 1950s Pattern Mother of Pearl
Fret Size: Historic Medium-Jumbo
Nut Material: Nylon
Fretboard Radius: 12" (304.8mm)
Nut Material: Nylon
Nut Width: 1.69" (42.85mm)
End Of Board Width: 56.89 mm / 2.239 in
Joint: Long Tenon, Hide Glue Fit

Hardware

Finish: Gold; Murphy Lab Light Aged
Bridge: No-Wire ABR-1
Tailpiece: Lightweight Aluminum Stop Bar
Tuning Machines: Kluson Waffleback with Pearloid Tips
Pickguard: Multi-ply Laminated Acrylic
Truss Rod: Authentic 1950s No-Tube
Truss Rod Cover: Authentic Stepped 2-Ply Les Paul Custom
Control Knobs: Butyrate Black Top Hats
Switch Tip: Amber Catalin
Switch washer: Replica Cellulose Acetate Butyrate
Jack Plate Cover: Multi-ply Laminated Acrylic
Control Covers: Black Royalite
Strap Buttons: Brass
Mounting Rings: M69 Cellulose Acetate Butyrate
Pickup Covers: Authentic Profile Gold-plated Nickel Silver
Tuners: Kluson Waffleback with Pearloid Tips

Electronics

Neck Pickup: Custombucker Alnico 3 (Unpotted)
Bridge Pickups Custombucker Alnico 3 (Unpotted)
Controls: 2 Volume, 2 Tone, CTS 500K Audio Taper Potentiometers, Paper-in-Oil Capacitors
Pickup Selector: 3-Way Switchcraft
Output Jack: 1/4" Switchcraft

Miscellaneous

Strings: .010, .013, .017, .026, .036, .046
Case/ Bag Included: Brown/Pink Lifton Reissue 5-Latch
Accessories: Certificate of Authenticity, Mounted Custom Shop Switch Plate Medallion; Reissue Switch Backplate in Case

Correct Weight

About me

02 April 2024

Gibson Les Paul Customs 1953 - 1961