Gibson Sunburst Les Pauls From ’58 To ’60

THE BEAUTY OF THE ’BURST

By Yasuhiko Iwanade
 ISBN 0-7935-7374-2

7777 W. BLUEMOUND RD. P.O.BOX 13819 MILWAUKEE, WI 53213

Copyright © 1996 by Rittor Music Inc.

English text Copyright © 1998 by Guitarix Inc.
All Rights Reserved
Original edition published in Japan by Rittor Music Inc.
English language edition published by Hal Leonard Corporation

Visit Hal Leonard Online at

www.halleonard.com
THE BEAUTY OF THE ’BURST
Gibson Sunburst Les Pauls From ’58 To ’60

Author
Yasuhiko Iwanade
Editors
Hiroyuki Noguchi, Hitoshi Tabata
Photographs
Eiji Kikuchi, Neil Zlozower, Stephen Pitkin (Pitkin Studio), Mike
Graham (Pitkin Studio), James Bland, Yukio Yanagi
Cover Photo
Eiji Kikuchi
Design & Layout
Niro Hayata
Copyright © 1996 Rittor Music Inc.
English text copyright © 1998 Guitarix Inc.
All rights reserved.
Original edition published in Japan by
English language edition published by Hal Leonard Corporation.
Printed in Hong Kong
 Foreword

I have known Yasuhiko Iwanade since 1982 and have often admired
his work. He has written some articles about me and I am very pleased to
be given the opportunity to write this foreword for this book.
This book of his is about the Gibson Les Paul model. It was designed
and marketed during my 18 years as president of Gibson Guitar
Company, and was the first solid body guitar in the long history of
Gibson.
The first prototype, which I took to Delaware Watergap to show to
Les Paul was finished in Sunburst. Though it was not cherry sunburst, it
was definitely a sunburst finish. It was so natural for a Gibson guitar at
that time to be finished in that color. It was only after Les’s involvement
when the finish was changed to gold. It stayed that way until the change
to cherry sunburst in ’58.
The wood for the top, fiddleback maple, was very difficult to get even
in those days. To make those book-matched Les Paul tops, which were
exactly 1/2 inch thick, we had to start from an odd size lumber. Larger
lumberyards tended to cut maple in regular 4/4 which was too thin for our
use. They also did not like to sort out those figured logs as it interfered
with the flow of production. Eventually, we had to call in several small
lumberyards as our suppliers. They were able to accommodate our needs
because of their size.
Since its birth in ’52, Les Paul Regular had a few minor changes and
those made from ’58 to ’60 were the last of the single cutaway design
made during my years. It is simply amazing to learn that even after so
many years, it still is one of the most sought after electric guitars ever
made.
Again, I am pleased to be included in this work of exploring and
discussing this model of guitar.
 October 1996
Theodore M. McCarty
CONTENTS
FOREWORD by TED McCARTY
ULTIMATE SUNBURST FILE
1958 SUNBURST LES PAUL
1959 SUNBURST LES PAUL
1960 SUNBURST LES PAUL
RARE BEAUTY
LABYRINTH OF THE ’BURST
THE ’BURST SLINGERS
SCIENCE OF THE ’BURST — LAYERS OF COLORS
STUDY OF THE FIGURE — 3 DIMENSIONAL PHENOMENON
PAF, THE HEART OF THE ’BURST
HARDWARE
FROM GOLD TOP TO SUNBURST
STRUCTURE OF THE ’BURST
VOICE OF THE ’BURST
FACTS OF THE ’BURST
’BURST TALK — INTERVIEW WITH THE OWNERS
BILLY GIBBONS (ZZ TOP)
JOHN CLARDY
VIC DA PRA
PERRY MARGOULEFF
ICHIRO KATO
ALBERT MOLINARO
RONNY PROLER
TOM WITTROCK
SERIAL NUMBER LIST
SUNBURST LES PAUL PHRASEOLOGY
THE BEAUTY OF THE ’BURST
 1958
LES PAUL
8 3096
’B U R S T V I E W

BACK
HEADSTOCK
A 1958 owned by Slash of Guns N’ Roses fame. It truly has an
appearance of a road warrior having gone through hundreds of
battlefields. Note elbow wear on body edge, missing finish around tone
knobs, and deep picking wear on pickguard As to the serial numbers, this
is one of the lowest being 3096.
’B U R S T V I E W
Deep, blackened weather check lines tells the guitar’s history on the road.
Note picking wear on the bridge pickup mounting ring.
BACK
The back also shows heavy use over the years. Although it has 1958 serial
numbers, the heel is small.
HEADSTOCK
A white rectangular sticker is attached for use as a record of maintenance.
The low E tuner is the double-ring style from later years.

1958
LES PAUL
8 5388
’B U R S T V I E W

BACK
HEADSTOCK
A sunburst top with strong red still left. Medium width of gradation.
Quarter sawn grain near center joint and the outer edge.
’B U R S T V I E W
Strong, fine flame shows a hint of blistered figure. The intense figure
covers the entire top.
BACK
Mahogany back shows wild grain pattern. Amount of fading is medium.
Medium to large heel.
HEADSTOCK
Tuners have been replaced with early 1950s tuners

1958
LES PAUL
8 5413
’B U R S T V I E W

BACK
HEADSTOCK
A 1958 light teaburst showing subtle balance of orange and brown.
Original cherry color remains vivid under the pickguard.
’B U R S T V I E W
Delicate figure is scattered all over the top. Typically, the top of the
Sunburst Les Paul changes its expression dramatically with the view
angle.
BACK
Progressive fading of the finish made the back look orange in color. The
color contrast between neck and body is caused by the color of material
and grain orientation. The heel of this guitar’s neck is remarkably large.

1958
LES PAUL
8 5418
’B U R S T V I E W

BACK
HEADSTOCK
Striking top with intense medium-sized flame covering entire top. Center
part of the top is quarter sawn grain which opens to flat sawn outwards.
The cutting angle of maple board from which this top was made was off
slightly 90 degree towards left.
’B U R S T V I E W
The figure looks even more spectacular from this angle. This angle also
shows fine weather checking.
BACK
Medium fading on the back. Large heel.

1958
LES PAUL
8 5489
’B U R S T V I E W

BACK
HEADSTOCK
Fading has advanced but cherry sunburst still retains red color. Beautiful
flowing flat sawn grain. Small frets are standard for ’58 Les Pauls.
’B U R S T V I E W
A book-matched top showing delicate figure.
BACK
Lightly faded back and neck. Large heel is the standard for ’58 era.

1958
LES PAUL
8 6727
’B U R S T V I E W

BACK
HEADSTOCK
An orange-colored teaburst with remaining red hue. Wide and delicate
gradation. Majority of the top is quarter sawn. Small frets.
’B U R S T V I E W
The figure becomes interesting whenever quarter sawn grain meets flat
sawn grain The yellow brightly shines through with direct light.
BACK
Flat sawn back with medium fading. Medium-sized heel.
HEADSTOCK
Shrinkage and deformation on tuning buttons can be seen.

1958
LES PAUL
8 6728
’B U R S T V I E W

BACK
HEADSTOCK
Slightly uneven fading on the top with rather strong red. Some
discoloration around the area where the player’s elbow touches. Two
unfilled small holes near the tailpiece indicate that this guitar once had a
Bigsby tailpiece.
’B U R S T V I E W
Top showing quarter sawn grain.
BACK
The back has faded more than the top. Fading exposed the red pore filler
typical of this era. The heel is rather small for a ’58.

1958
LES PAUL
8 6730
’B U R S T V I E W

BACK
HEADSTOCK
A ’58 quarter sawn book-matched top. Nearly teaburst but still has much
red left.
’B U R S T V I E W
Intense pinstripe flame. Flame tops change their appearance according to
the viewing angle.
BACK
Lightly faded back.

1958
LES PAUL
8 6749
’B U R S T V I E W

BACK
HEADSTOCK
A ’58 owned by ZZ Top’s guitarist, the legendary Rev. Billy F. Gibbons.
A teaburst transforming into honeyburst. Typical quarter sawn center, flat
sawn outside grain orientation.
’B U R S T V I E W
Beautiful flowing flat sawn grain dominates the top with delicate
pinstripe curls.
BACK
The back has faded to orange. Small heel.

1958
LES PAUL
8 5386
Light teaburst faded just enough to show its beautiful grain pattern that is
a combination of quarter and flat sawn grain. Narrow but natural
gradation.
’B U R S T V I E W
Mixture of flame and curl covers the entire top.
BACK
Fading of the back is between light and medium. Large heel with square
edge.
’B U R S T V I E W

BACK
 1958
LES PAUL
8 5416
Faded cherry sunburst with rather strong red. Gradation is medium. Left
side of the top is totally flat sawn whereas right side is rift sawn.
Probably a flitch-match. The silkscreened gold script of “Les Paul” on the
headstock is almost gone.
’B U R S T V I E W
Delicate pinstripe curl can be seen on the left side of top.
BACK
A flat sawn back with a large flowing pattern. Light fading is similar to
the top. Medium to large heel.
’B U R S T V I E W

BACK
 1958
LES PAUL
8 5495
A cherry Sunburst ’58 with remarkably strong vivid red. An open and
flowing flat sawn grain pattern make this guitar truly remarkable. Wide
and subtle gradation.
’B U R S T V I E W
From this angle, more figure can be seen.
BACK
Average fading on the back. Medium to large size heel.
’B U R S T V I E W

BACK
 1958
LES PAUL
8 5502
A cherry sunburst top ’58. Fine and delicate flat sawn grain pattern
covers most of the top. Very wide gradation.
’B U R S T V I E W
The yellow which is the base of the sunburst finish shines brightly when
light hits it.
BACK
Flat sawn mahogany back with large figure pattern. Medium fading. The
size of the heel is medium to large.
’B U R S T V I E W

BACK
 1959
LES PAUL
9 0280
’B U R S T V I E W

BACK
HEADSTOCK
Cherry sunburst that is just turning into teaburst. Red to yellow transition
(gradation) area is narrower than medium although red hue still remains.
’B U R S T V I E W
Strong flame runs across the top. Red gradation is natural and delicate.
BACK
Not much fading on the back. The level of fading in this case could be
described as the early stage of medium fading. The heel of the neck is
smaller than usual and the edge of it is sharper.

1959
LES PAUL
9 0296
’B U R S T V I E W

BACK
HEADSTOCK
Fading pattern is that of lemon drop (no red or burst). However, with the
ambering effect of aged clear lacquer, the top is now amber-yellow.
Along with the fine weather checking that covers entire top, this guitar
has a kind of aura belonging only to the one that went through decades of
creating music.
’B U R S T V I E W
Fine weather checks suggest that the guitar was kept in an area with a
not-so-mild climate or it was taken out on gigs regularly. More than half
of the top shows quarter sawn grain.
BACK
Fading level of the back is past medium. And, as with the top, the clear
lacquer top coat has aged to dark amber thus making the color dark
orange. Small heel.

1959
LES PAUL
9 0341
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with lemon drop top. Strong amber color comes from heavy aging
of clear lacquer. Two-thirds of the top is quarter sawn grain. This guitar
is a good example of a ’59 with small frets.
’B U R S T V I E W
Strong flame covers entire top. Flame gets narrower towards the bottom
of the body.
BACK
Not so common quarter sawn back. More fading than average. And, as
with the top, aged clear lacquer gives the faded cherry a dark orange look.
Small heel.

1959
LES PAUL
9 0382
’B U R S T V I E W

BACK
HEADSTOCK
Cherry sunburst with strong red still apparent. Although not book-
matched, this top probably had two halves from the same lumber. Frets
are large and more typical for a ’59.
’B U R S T V I E W
Extremely strong three-dimensional figure. Intense fine flame curl can be
seen especially on left side.
BACK
The back shows the mixture of quarter and flat sawn grain pattern.
Medium fading. Small heel

1959
LES PAUL
9 0592
’B U R S T V I E W
BACK
HEADSTOCK
This fine example once belonged to Robert Johnson, the great guitarist
and Sunburst Les Paul connoisseur from Memphis. Beautiful honey-
sunburst with a set of ’double whites’ P.A.F. pickups.
’B U R S T V I E W
The flame gets thicker towards the bottom end of the body.
BACK
The neck has been refinished upon restoration. Some portion of original
finish still remains on the back of the body.

1959
LES PAUL
9 0593
’B U R S T V I E W

BACK
HEADSTOCK
The top color is changing from teaburst to honeyburst. Although only a
number apart from the previous page’s 9 0592, this guitar retains more
color. While 9 0592 has its flame slanting up towards the outside edge of
the body, this 9 0593 is just the opposite with identical flame. Shows tag-
shadow around switch plate.
’B U R S T V I E W
Perfectly quarter sawn top has very dense grain. Medium thickness flame.
Part of it looks like twisted ribbon.
BACK
Fading of the back is not as much as the top. The edge of the heel is
rather sharp making it look rather large for a ’59.

1959
LES PAUL
9 0597
’B U R S T V I E W

BACK
HEADSTOCK
A perfect example of book-matched top. Even thickness tiger stripe
covers all the way across the top. Movement of flame close to the body’s
outer edge is created by the slight rift sawn portion there.
’B U R S T V I E W
Numerous weather checks across the top tell this guitar’s history.
BACK
The back shows typical medium fading. The size of the heel is medium
and rather large for a ’59.

1959
LES PAUL
9 0600
’B U R S T V I E W

BACK
HEADSTOCK
This top is also fading from honeyburst towards lemon drop. Note square
shape red spot just below the toggle switch. This is where the switch tag
used to be.
’B U R S T V I E W
Very strong tiger stripe that is going up slightly towards the outer edge.
Judging from the grain pattern, this top is cut between quarter and rift
sawn. Top clear lacquer coat has turned to deep amber adding depth to the
burst.
BACK
Large flat sawn pattern dominates the back and has faded to reddish-
orange. The heel is sharp on the edge and appears to be slightly larger
than most ’59s.

1959
LES PAUL
9 0627
’B U R S T V I E W

BACK
HEADSTOCK
A lemon drop top with virtually no sunburst shading left. Typical rift
sawn book-matched top. As seen in this example, it is possible for ’59s to
have small frets.
’B U R S T V I E W
Very strong wavy flame evenly covers entire top.
BACK
The flat sawn back has faded to orange. Small heel.

1959
LES PAUL
9 0629
’B U R S T V I E W

BACK
HEADSTOCK
A top that is making the transition from light teaburst to honeyburst.
Most of the top is quarter sawn.
’B U R S T V I E W
Particularly on left side of the top, the figure is wide, flat, and twisted.
Hence the name ribbon curl.
BACK
The back has faded to light orange revealing red pore filler. The position
of belt buckle wear suggests that the guitar was intensely played after the
1970s. Small heel.

1959
LES PAUL
9 0632
’B U R S T V I E W
BACK
HEADSTOCK
A very good example of a lemon drop top. Fine brown grain lines on the
outer side of body top are called flecks and is a characteristic of eastern
maple.
’B U R S T V I E W
Pinstripe flame curl covers the entire top.
BACK
Back has faded to rusty orange. Small heel

1959
LES PAUL
9 0640
’B U R S T V I E W

BACK
HEADSTOCK
Very typical, not-so-faded strong cherry sunburst. Though much red still
remains, it can be guessed from the narrow width of sunburst gradation
that the top color was much stronger when it was new. A brown fleck line
by the toggle switch is another clue. When these lines appeared on top,
the factory would finish with a strong sunburst shading to cover them.
’B U R S T V I E W
90% of top is covered by quarter sawn grain. Deep, strong medium-sized
flame covers the top evenly.
BACK
Strong red on back. The size of heel is between medium and small.

1959
LES PAUL
9 0656
’B U R S T V I E W

BACK
HEADSTOCK
Honeyburst top with strong ambering effect from aged clear lacquer. Two
small white crescent plates seen underneath the Bigsby tailpiece are in
fact a pair of 1/2 inch diameter round mother of pearl disks to cover
tailpiece stud holes.
’B U R S T V I E W
Medium-thick flame covers most of the top which has flat sawn grain
pattern
BACK
Back is almost quarter sawn. Color contrast of the neck and body comes
from the difference in wood color. Body back has faded to orange. Small
heel.

1959
LES PAUL
9 0663
’B U R S T V I E W

BACK
HEADSTOCK
Previously owned by Aerosmith’s Joe Perry. Note telltale wear around
volume knob. Now belongs to Slash’s collection. What looks like
tobaccoburst is actually a very dark burgundy. Very narrow burst
gradation means this top has experienced considerable fading. Probably
much redder when it was new. Aged and ambered clear top coat also
contributes to tobacco look.
’B U R S T V I E W
Mild flame appearance especially on left side of the top.
BACK
Large area of belt buckle wear tells that this guitar has been on stage
many times. The heel is particularly large for a ’59.
HEADSTOCK
Note square white sticker applied by the guitar tech for inventory and
maintenance.

1959
LES PAUL
9 0669
’B U R S T V I E W

BACK
HEADSTOCK
Named “Dusty,” this ’59 honeyburst top has ambered greatly with age.
The bottom part of the top shows dark spots where spray patterns
overlapped. Though this was not visible when new, fading has exposed it.
’B U R S T V I E W
The top has thick flames evenly spread throughout entire surface. The
level of fading may be described as second step before lemon drop. Color
around the toggle switch is actually a lighter shade of teaburst.
BACK
An extreme example of body back fading. Very light orange. Darker look
of neck is caused by color difference in material. Medium-sized heel.

1959
LES PAUL
9 0697
’B U R S T V I E W

BACK
HEADSTOCK
Very antique looking ’59. Heavy aging of the lacquer top coat.
Considerable amount of weather check also adds character to this top.
Almost totally quarter sawn grain. More than the regular amount of
brown colored flecks.
’B U R S T V I E W
The flame is thinner on the left side. The arrow shaped by book-matched
flame is pointing downwards.
BACK
Back of the neck shows heavy playing wear. Note two different belt
buckle mark spots. Lower one by the control plate is too low for rock
style of playing, so probably from earlier owner(s). The one in the center
of the body suggests a more recent owner.

1959
LES PAUL
9 0839
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with aged and ambered honeyburst. Thick, strong flame.
’B U R S T V I E W
Rift sawn book-matched top. Deep and wavy three-dimensional flame
BACK
Not much fading on the back. Small heel.

1959
LES PAUL
9 0844
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 from the Slash collection. Teaburst that is between red and brown.
Very natural subtle fading. An ideal example of the typical teaburst. The
top is fully covered with fine flame curl.
’B U R S T V I E W
Aged hardware, plastic and finish. Perfect vintage look. Note unfilled
Bigsby holes by the tailpiece.
BACK
Already faded to orange. Two different belt buckle wear spots. Small
heel.
HEADSTOCK
Only high E tuner button has shrunk.

1959
LES PAUL
9 0905
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with typical teaburst. Thick and even figure covers the book-
matched top.
’B U R S T V I E W
Delicately faded shading complements the slightly wavy flame.
BACK
Faded to orange exposing red pore filler. Small heel

1959
LES PAUL
9 0901
’B U R S T V I E W

BACK
HEADSTOCK
A cherry sunburst turning into teaburst. Partly flat sawn book-matched
grain pattern.
’B U R S T V I E W
Wavy flame created by a mixture of quarter and flat sawn maple. With its
elegant dish curving, this top definitely is a fine example of “Beauty of
the ’Burst.”
BACK
Fading of the back is more advanced than that of top. Small heel.

1959
LES PAUL
9 0910
’B U R S T V I E W
BACK
HEADSTOCK
A light teaburst ’59. Wide gradation area behind the tailpiece. Subtle
wavy flame is scattered over the top. Note shrunk tuner buttons.
’B U R S T V I E W
Different face expression from different view angle. Delicate gradation
can be observed.
BACK
Back showing average fading. No belt buckle mark. Rather large heel for
a ’59

1959
LES PAUL
9 0913
’B U R S T V I E W
BACK
HEADSTOCK
Legendary ‘Brock/Dapra’ burst. Quarter sawn, book-matched maple top
with strong flame and color. Only low E tuner has shrunk.
’B U R S T V I E W
Thick, deep three-dimensional flame. The figure behind the tailpiece is
very distinctive.
BACK
Although the top color is extremely strong, the back shows more than
average fading. Small heel.

1959
LES PAUL
9 0926
’B U R S T V I E W
BACK
HEADSTOCK
Although the level of fading seems not so severe, the amount of missing
red suggests that the burst shading was strong and wide when new. This
assumption is further reinforced as 9 0925 (p124) is a much darker burst.
Note the dark spot behind the bridge where a Bigsby tailpiece used to be.
’B U R S T V I E W
Fine, curly pinstripe figure is a mixture of wave and flame.
BACK
Back is almost quarter sawn. Excessive fading to very light orange.

1959
LES PAUL
9 1061
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with a set of ’double whites’ P.A.F.s. Slightly faded cherry
sunburst. Excessive fading where elbow hits the top.
’B U R S T V I E W
Thick, deep figure covers the top. Probably a flitch-match.
BACK
Flat sawn back. Fading is slightly more than average. The neck shows
some wear on lower position. Small heel.

1959
LES PAUL
9 1163
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 faded cherry sunburst with a set of ‘double whites’ P.A.F.pickups.
’B U R S T V I E W
Narrow gradation. Some elbow discoloration
BACK
Medium fading. Small heel.

1959
LES PAUL
9 1171
’B U R S T V I E W

BACK
HEADSTOCK
‘Pearly Gates’. This guitar has helped living legend, Rev. Billy F.
Gibbons, create his great music over the years. Strong brown tea-
tobaccoburst is a color of its own. Probably a faded darkburst with
extremely ambered top coat. Note that the strings go over the top of
tailpiece.
’B U R S T V I E W
This guitar has seen numerous club stages as well as arenas. Note playing
wear between pickups as well as on body edge.
BACK
Back faded to orange color. Note belt buckle mark by switch cover plate.
Small heel.

1959
LES PAUL
9 1228
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with a set of zebra P.A.F.s. As seen on this example, most of the
zebras have cream bobbins on the non-adjustable side.
’B U R S T V I E W
Very exceptional as a flat sawn top as flame does not run out. Intense
medium-sized wavy/flamey figure from top to bottom.
BACK
Cherry-red faded to orange. Back of neck had some bare spots. It has
since been clear coated. Small heel.

1959
LES PAUL
9 1688
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 with a set of ’double whites’ P.A.F.s. Teaburst turning into
honeyburst. Medium-sized flame. Overlapping spray pattern behind
tailpiece. One time in its history it had a Bigsby but now it has been
removed and the tailpiece restored.
’B U R S T V I E W
Dark spray overlapping pattern can be clearly seen.
BACK
Medium to heavy fading. When there is a color contrast, the neck usually
is darker. Note lower location belt buckle mark. Medium-sized heel.

1959
LES PAUL
9 1854
’B U R S T V I E W

BACK
HEADSTOCK
Powerful, wavy figure across the top. One time it had a Bigsby but now it
has been restored.
’B U R S T V I E W
Very strong figure with distinctive character.
BACK
Medium to light fading. Small heel
HEADSTOCK
Although it shows some sign of restoration around headstock area, the
serial number is original.

1959
LES PAUL
9 1864
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 believed to be owned by Jeff Beck when he was playing in the first
Jeff Beck group. Large spectacular flame and front zebra pickup certainly
matches the photos from that era. Teaburst with wide gradation. It had a
Bigsby tailpiece at one time.
’B U R S T V I E W
As usually the case, the grain shifts from quarter sawn in the center to flat
sawn towards outer edge. Note extra thumb nut added to the bottom of the
bridge stud.
BACK
The amount of fading is more than average. Surprisingly small belt
buckle mark. Small heel.
HEADSTOCK
The tuners were once replaced by Grovers, then restored back to Kluson.

1959
LES PAUL
9 1876
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 once owned by Paul Stanley of Kiss. Extremely light weight. Deep
three-dimensional flame with lots of action. Quarter sawn grain in the
center and flat sawn grain outside. Even, natural gradation of shading
makes this top an ideal example of the burst.
’B U R S T V I E W
Powerful and unique flame covers the whole top. Pickup covers are left
intact.
BACK
Back is also extremely clean. Faded to medium orange. Small heel.

1959
LES PAUL
9 1884
’B U R S T V I E W

BACK
HEADSTOCK
Faded cherry sunburst top with a considerable amount of red still left.
Contrary to the theory, flat sawn grain is in the center of the book-
matched top.
’B U R S T V I E W
Because of the grain orientation, flame can be seen on body edge whereas
interesting grain and figure is in the center of the body.
BACK
Light to medium fading on the back. Small heel.
HEADSTOCK
All of the tuner buttons are discolored and shrunk. Also, the Les Paul
script shows oxidation.

1959
LES PAUL
9 1885
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 whose top has just turned from teaburst to honeyburst. Although
book-matched, the left side shows more flat sawn grain.
’B U R S T V I E W
Book-matching can be confirmed with symmetrical grain behind the
tailpiece. The character of the flame, especially on the right side, is
almost identical to that of 9 1876 (p92). These two tops are probably
made from the same board of maple.
BACK
Back has faded to light orange. Small heel.

1959
LES PAUL
9 1898
’B U R S T V I E W

BACK
HEADSTOCK
Very faded cherryburst. Faded but has not become teaburst. Although
there is some irregularity in the figure, it is definitely a book-matched
top.
’B U R S T V I E W
From this angle, more detail of the top can be observed. A large area of
the left side of the top is flat sawn, making the figure and grain wild and
open. Shows some similarity to 9 1864 (p90).
BACK
The grain of the back is quite subdued for mahogany. Average fading.
Small heel.

1959
LES PAUL
9 1901
’B U R S T V I E W

BACK
HEADSTOCK
Cherry sunburst with a hint of tea coloring. Book-matched with fine
flame in the center.
’B U R S T V I E W
Strong, wavy flame.
BACK
Fading is minimum on the back. Small heel.

1959
LES PAUL
9 1923
’B U R S T V I E W

BACK
HEADSTOCK
A ’59 burst with strong red-cherry sunburst. Quarter sawn book-matched
top.
’B U R S T V I E W
Top is covered with three-dimensional figure.
BACK
Same as the top, back has almost no scratches. Large heel.
HEADSTOCK
Although the front of the headstock shows some weather checking, the
Les Paul script is still intact.

1959
LES PAUL
9 1953
’B U R S T V I E W

BACK
HEADSTOCK
Almost mint condition ’59. Teaburst with medium gradation fading.
’B U R S T V I E W
Although there is slight irregularity in the two matching halves, the top
has a prominent figure. Studying the similarity to 9 1901 (p101) would be
interesting.
BACK
The finish of the back and the neck still retains strong red. The back
shows flat sawn grain. Small heel.

1959
LES PAUL
9 1980
’B U R S T V I E W
BACK
HEADSTOCK
Light honeyburst with aged and ambered clear top coat. Note discolored
and shrunk tuner buttons.
’B U R S T V I E W
Rare bird’s eye figure which only appears on hard rock maple. Beautiful
fine grain runs quarter sawn in the center to flat sawn to the outer edge.
BACK
Quarter sawn back has very few scratches. Average fading. The size of
the heel is as large as a ’58.

1959
LES PAUL
9 1981
’B U R S T V I E W
BACK
HEADSTOCK
A ’59 teaburst. The top has quarter sawn grain although the figure is
asymmetrical. Some curl cord indentation on top.
’B U R S T V I E W
Wide and strong figure covers the entire top
BACK
Quarter sawn back is turning from cherry-red to orange. Back also has
curl cord indentation. Large heel.

1959
LES PAUL
9 1982
’B U R S T V I E W

BACK
HEADSTOCK
A light weight ’59 with delicate sunburst gradation. Color is somewhat
between teaburst and honeyburst.
’B U R S T V I E W
Thick, three-dimensional flames run across the top.
BACK
Back has retained the red quite well. Medium-sized heel

1959
LES PAUL
9 1999
’B U R S T V I E W

BACK
HEADSTOCK
A top changing from cherry sunburst to teaburst. The grain opens to flat
sawn pattern from the center to the outer edge. Typical ’59 large frets. A
set of ’double whites’ P.A.F.s.
’B U R S T V I E W
Beautiful flame extending to the edge of top. Delicate burst gradation on
lower bout.
BACK
Quarter sawn mahogany back faded to orange. Small heel.

1959
LES PAUL
9 2012
’B U R S T V I E W
BACK
HEADSTOCK
A light teaburst top ’59. Probably a flitch-match as the figure is mostly
asymmetrical. Large frets.
’B U R S T V I E W
Wild figure with lots of thick and wavy stripes.
BACK
Medium fading. Small heel.

1959
LES PAUL
9 2204
’B U R S T V I E W

BACK
HEADSTOCK
A rusty lemon drop top ’59 with 1 ’double whites’ P.A.F. on the rear
position. This is another rare example of perfect tiger striped figure on
totally flat sawn maple. A worn spot on body edge where elbow hits
shows two distinctively different yellows. Lower layer yellow is the true
color of background yellow underneath sunburst shading. Upper layer
shows the amount of yellowing on clear lacquer. Note two small screw
holes where Bigsby used to be.
’B U R S T V I E W
Shows no burst gradation. Aged and ambered lacquer adds a depth to the
finish. The flames run all across the top.
BACK
The back has also discolored to a rusty brownish-orange. Large heel

1959
LES PAUL
9 2229
’B U R S T V I E W

BACK
HEADSTOCK
A honeyburst ’59 which is almost becoming lemon drop. Flowing flat
sawn grain pattern. Subtle flame is scattered over the top. Non-original
double ring Kluson
’B U R S T V I E W
The top is flitch-matched rather than book-matched. Asymmetrical grain
pattern is an indication of the top not being book-matched.
BACK
Back has turned to rusty brownish-orange. Large heel.

1959
LES PAUL
9 0299
’B U R S T V I E W

BACK

A ’59 with light honeyburst lemon drop. Beautiful symmetrical grain

accentuates the top’s graceful curve This is a combination of quarter and
flat sawn grain.
’B U R S T V I E W
Some figure appears from a certain angle.
BACK
Fading of the back appears to be slower than the top.

1959
LES PAUL
9 0310
’B U R S T V I E W

BACK
This is another version of sunburst called darkburst which is dark
burgundy-brown on the edge. It still has cherry-red as a base color which
can be seen on the gradation area.
’B U R S T V I E W
Book-matched, quarter sawn grain. Very even gradation
BACK
Slightly faded back. Small heel.

1959
LES PAUL
9 0583
’B U R S T V I E W

BACK

Mint condition cherry sunburst ’59 with flitch-matched top. Small frets.
’B U R S T V I E W
Even the nickel plated hardware is still shiny. Note the original sharp
cornered output jack plate.
BACK
Back of headstock is painted black. This was done to cover minor
cosmetic irregularities such as knots or streaks. Seen on other models
from same era.

1959
LES PAUL
9 0826
’B U R S T V I E W

BACK

A darkburst ’59 with ’double whites’ P.A.F. pickups. Originally had a

Bigsby B7 tailpiece. Still shows unfaded shadow of the Bigsby behind
stop tailpiece.
’B U R S T V I E W
Bigsby shadow is more clearly seen from this angle
BACK
Flat sawn grain with wide, open pattern turning into orange towards
center. Small heel.

1959
LES PAUL
9 0925
’B U R S T V I E W

BACK

A darkburst ’59 again with a set of ’double whites’. Some flecks are seen
on the edge of top. That is why this guitar was finished in a dark color.
’B U R S T V I E W
Subtle figure can be seen from a different angle.
BACK
Back color is between cherry-red and orange, and exposes red filler.
Small heel.

1959
LES PAUL
9 1234
’B U R S T V I E W

BACK

A ’59 that is turning from teaburst to honeyburst Asymmetrical flitch-

matched grain.
’B U R S T V I E W
Dark spot by the switch where the model tag (see pl77) used to be. A
worn spot on top edge where elbow hits.
BACK
About the same fading level as top. Some discoloration where player’s
body touches. Small heel.

1959
LES PAUL
9 1868
’B U R S T V I E W

BACK

A light teaburst ’59. Originally equipped with Bigsby tailpiece. The

tailpiece shown in this picture is not original. Note there are no stud holes
for stop tailpiece.
’B U R S T V I E W
The spectacular figure pattern is truly an art created by mother nature.
BACK
Typical faded cherry back. Small heel.

1959
LES PAUL
9 1887
’B U R S T V I E W

BACK

A quarter sawn honeyburst top. Note discolored and shrunk tuner buttons.
’B U R S T V I E W
Straight quarter sawn grain. Fine pinstripe curls cover the top.
BACK
Flat sawn grain flows diagonally. Small heel.

1959
LES PAUL
9 1927
’B U R S T V I E W

BACK

A ’59 that is between cherry sunburst and teaburst. Same as most of the
tops, quarter sawn grain is placed at the center joint. Note shrunk tuner
buttons.
’B U R S T V I E W
Wide, subtle gradation especially on the lower bout. Asymmetrical figure
is an indication of flitch-matching.
BACK
Beautiful flat sawn grain. Light fading. As usual, the wood color of the
neck is darker than that of the body.

1959
LES PAUL
9 2225
’B U R S T V I E W

BACK

A darkburst ’59. Darkburst is several times darker than cherry sunburst.

Even darker than wine red. The majority of this top is flat sawn grain.
Fine, wavy curl is scattered throughout the entire top.
’B U R S T V I E W
The color is dark yet translucent.
BACK
Lightly faded back with a combination of flat sawn and quarter sawn
grain. Large heel.

1959
LES PAUL
9 2314
’B U R S T V I E W

BACK

A darkburst ’59. Width of gradation usually indicates the amount of

fading. In this case the top has faded considerably. However, the dark
area on the upper bout still has strong brown-burgundy color.
’B U R S T V I E W
Fine delicate flame covers the top.
BACK
Average fading on the back. Small heel.

1959
LES PAUL
9 2324
’B U R S T V I E W

BACK

Very faded but still reddish-cherry sunburst. On this example, the top is
book-matched with flat sawn grain towards the center. Shows two Bigsby
screw holes.
’B U R S T V I E W
Pinstripe curl dominates the top. Note quarter sawn grain on outside edge
of top.
BACK
This guitar certainly has been played. Very large heel for this period.

1959
LES PAUL
9 2342
’B U R S T V I E W

BACK

A darkburst ’59 with flat sawn book-matched top. Note wide gradation
area.
’B U R S T V I E W
Extremely fine figure accentuates the top
BACK
Medium fading. Large heel
 1960
LES PAUL
0 0154
’B U R S T V I E W

BACK
HEADSTOCK
A faded cherry sunburst ’60 with wild figure. Soft and wide gradation
’B U R S T V I E W
Three-dimensional wild figure.
BACK
Deep cherry-red with not much fading. Large heel.

1960
LES PAUL
0 0205
’B U R S T V I E W

BACK
HEADSTOCK
A ’60 with evenly faded top. Very fine quarter sawn grain.
’B U R S T V I E W
Wild, but perfectly symmetrical figure. The more identical the two figure
halves are, the more perfect quarter sawn they are.
BACK
The location of buckle wear is rather high. It is an indication of heavy use
after the ’70s. Large heel.
HEADSTOCK
Back of the headstock shows signs of restoration.

1960
LES PAUL
0 0208
’B U R S T V I E W

BACK
HEADSTOCK
A honeyburst with a hint of red still left. Factory original Bigsby. Note
there are no stud holes underneath. Shrunk tuner buttons.
’B U R S T V I E W
Large and wild figure. Note maple spacer under Bigsby.
BACK
Back has not faded as much as top. Large heel

1960
LES PAUL
0 0253
’B U R S T V I E W

BACK
HEADSTOCK
Tangerineburst with distinctive red. Wide gradation area. A set of ’double
whites’ P.A.F.s.
’B U R S T V I E W
This picture also shows strong red. Fine pinstripe curl fills up the top.
BACK
Back has not faded much. Small heel.

1960
LES PAUL
0 1494
’B U R S T V I E W

BACK
HEADSTOCK
A ’60 with faded cherry sunburst with extremely fine pinstripe curl
figure.
’B U R S T V I E W
Majority of the top is quarter sawn grain. Note the grain is slightly
slanted to the left. Probably a flitch-match.
BACK
Lightly faded back. Small heel with sharp edge.

1960
LES PAUL
0 2188
’B U R S T V I E W

BACK
HEADSTOCK
A teaburst with heavily ambered lacquer top coat. Most of the burst
shading has faded on the body’s lower bout. Wavy interlocking figure
across the top. Grain is a combination of quarter and flat sawn.
’B U R S T V I E W
Medium size figure covers entire top.
BACK
Medium fading on back. Small heel.

1960
LES PAUL
0 7170
’B U R S T V I E W

BACK
HEADSTOCK
A ’60 with short style Bigsby, B-5. Note the pair of screws that fill the
empty tailpiece stud holes. Judging from the flecks and pattern of flame,
this top is made from eastern maple. The top finish is fade-resistant
tangerineburst and it has a somewhat orangish hue. Note Les Paul script
on trussrod cover.
’B U R S T V I E W
It is rare to see strong flame on a completely flat sawn top
BACK
Not so much fading except on back of the neck. Small heel

1960
LES PAUL
0 7615
’B U R S T V I E W

BACK
HEADSTOCK
Typical ’60 style tangerineburst. Thick, strong flame pointing upward in
the center. Although it almost looks like a book-match, it is in fact a
flitch-match. Note the difference in grain pattern and size of flame
between the two halves.
’B U R S T V I E W
Spectacular top with delicate sunburst gradation
BACK
Average fading on the back. Small heel with sharp edge
HEADSTOCK
Note double ring Kluson tuners.

1960
LES PAUL
0 1490
’B U R S T V I E W

BACK

A fade-resistant tangerineburst that is characteristic of many 1960 Les

Paul guitars. Medium width gradation. Unmatching figure and grain
suggest that this top is flitch-matched.
’B U R S T V I E W
Even more spectacular from this angle. Shows more interlocking grain in
figure.
BACK
Cherry-red on the back is still strong. Small heel.

1960
LES PAUL
0 2196
’B U R S T V I E W

BACK

A ’60 with ’59 style light teaburst with very delicate gradation. Note that
the bottom of trussrod cover touches the nut on most 1960 era Sunbursts.
’B U R S T V I E W
Book-matched top with thick, wide flames. Wild pattern behind the
tailpiece. ’Double whites’ P.A.F.s on the bridge position accentuate the
beauty of the top.
BACK
Medium fading. Back of the neck sometimes shows more fading than the
back of the body.

1960
LES PAUL
0 7448
’B U R S T V I E W

BACK

Typical 1960 era tangerineburst top. Wide shading and gradation.

’B U R S T V I E W
Center half of the top is quarter sawn. Flat sawn towards outer edge.
Pinstripe curls are evenly distributed. This view angle also shows wide
shading area.
BACK
The back color does not differ from that of ’59. Small-sized heel.

1960
LES PAUL
X XXXX
’B U R S T V I E W

BACK

The color of this top can be described as light teaburst. Dark part of
shading is very close to the top edge. Serial numbers have been removed.
Judging from the small frets and ’double black’ pickups, the quarter sawn
grain in the center, and flat sawn grain outside, it is highly likely that this
guitar is a ’58.
’B U R S T V I E W
Some delicate figure can be seen from this angle. Fine weather checks
cover the top.
BACK
The back has faded more than average. The heel size is closer to a ’59.

1960
LES PAUL
X XXXX
’B U R S T V I E W

BACK

Very vintage looking teaburst with just the right amount of natural
unevenness. The serial number was removed when the neck was
refinished. Judging from the color of the pickups that are zebra and
’double whites’ and also two screw holes inside rear pickup cavity, this
guitar can be dated as 1959 or early 1960.
’B U R S T V I E W
Strong and wild figure. From the way the figure flows, the top is probably
flitch-matched.
BACK
The back has faded to orange. Large heel.
 1958
LES PAUL
8 3324
TOP VIEW

BACK
HEAD STOCK

This ’58 Gold top is believed to have been owned by Mary Ford who
performed with Les Paul. It has a unique ES 295 style pickguard. The arm
rest employs the same design concept.
TOP VIEW
Very good condition that does not show much aging. Graceful curving of
top. Note the arm rest is attached to the body with two regular pickguard
support brackets.
BACK
As is a practice on most of the Gold tops, the back and the neck are
finished in natural. Although ‘Natural’ tends to imply total colorlessness,
the finish does have a yellow tinted color coat. It was done to enhance the
natural beauty of mahogany wood.

1958
LES PAUL
9 0875
TOP VIEW

BACK
HEAD STOCK
Very rare cherry-red top ’59. Factory original Bigsby tailpiece. Note the
absence of Les Paul script on headstock. It is not known if the guitar was
originally shipped this way. The silkscreened logo was applied on top of
the finish and can easily be rubbed off while polishing.
TOP VIEW
Very fine pinstripe figure appears from this angle. The absence of any
tailpiece stud holes suggests that this guitar was destined to have a
Bigsby tailpiece in its early stage of production. Two piece top with
center seam.
BACK
The back is also cherry-red. The serial number is not an ink-type but
rather indented. Could this mean custom order?
 1958
LES PAUL
8 3688
Though black was and still is a standard finish for the Les Paul Custom,
there were only a few ‘regular’ Les Paul guitars finished in this color.
TOP VIEW
The color contrast of the plastic parts and body finish gives this guitar a
totally unique look. Note that the control knobs are also black instead of
gold.
BACK
The back is also painted in opaque black. Serial numbers are stamped in
yellow ink instead of regular black to make them legible.
TOP VIEW

BACK
 LABYRINTH OF THE ’BURST

Back To I960

Young Don Stroup as a proud owner of lefty 1960

Les Paul Sunburst. He bought it on May 25th, 1960.
The hang tag has the unusual “special” marking. It would normally mean
a flat top solid body model with two P-90s. In this case “special” means
left-handed.

STILL KICKIN’

Don Stroup now with his 0 1504.

Purchase contract for 0 1504. When new, it was sold for $342.50
including case.
 Country singer, Thelma, with her 9 1850. The guitar was her main
squeeze when she was doing the club circuit. Now the guitar is owned by
Tom Keifer of Cinderella.
Joe Walsh in his James Gang days. This shot was taken just after he
bought this guitar.
Young Rick Derringer with his Les Paul Sunburst fitted with ‘Double
whites’ pickup.
With The Artists
 Brad Whitford and Joe Perry of Aerosmith with their favorite ones.
Posing in the center is a vintage gear expert, Perry Margouleff who owns
a recording studio in Long Island.

Serial Number 9 1823

 Serial Number 0 7444

’Bursts on Paradise
Serial Number 9 1923
Serial Number 9 1873
Rare ’Bursts

0 7450 once belonged to one of the most prominent collectors, Tom

Wittrock, who appears on interview page. This is an extremely rare
example of a blistered maple top.
A shot of a rare lefty flame top. The flame is broader on left side and
finer on right side. This picture was taken before it was sold to Paul
McCartney (see page 169).

Beauties to be

A Sunburst Les Paul being restored. The flame flows downward from
right to left. This suggests that the top is a flitch-match. After restoration,
this guitar was sold to Joe Walsh.
A completely stripped Les Paul body. Perfectly symmetrical book-
matched top. This body was found without a neck
p167 top only
The late Charly Wirz with his favorite Pauls. He was one of three
founders of the most established Greater Southwest Guitar Show. He was
also a mentor to the late Stevie Ray Vaughan.
SCIENCE OF THE ’BURST
LAYERS OF COLORS

Just as with Stradivarius violins, one of the most sought after musical
instruments in the world, there are myths and secrets surrounding the
finish of the Sunburst Les Paul. The kind of Les Paul finish of the 1958-
1959 era has a very complicated layer structure. And each layer has aged
differently which makes it extremely difficult to reproduce or restore —
even by the most experienced craftsmen. Also, although the color is
simply called sunburst, there is a wide variation in the appearance of a
Les Paul Sunburst, especially after it has aged 40 years. Each guitar,
while made according to very close standards, was nonetheless slightly
different when made. And due to environmental factors such as
temperature, humidity, and sunlight, differences have become even
greater today.
In this chapter we first study the patterns of the color variation, then
move on to an analysis of the structure of the finish, including the
definition of the original colors. Finally we will look at the impact of the
aging process on the finish of the ’Burst. Only by comprehending each of
these steps, can we can see the true unfolding of these complicated
processes.

Sunburst Les Paul Top Color Variations

 Top color Variation
As you can see from the color plates, there are many deviations in the
color of a Les Paul guitar. This can be caused by the colorant and the
other characteristics of the paint as well as the affects of aging. These can
be divided into several different categories. Each category has its own
name, a name given by the collectors and aficionados. Following are the
names and explanation.
1. Cherry sunburst
This is a strong red finish which looks similar to the way it appeared
as it left the factory. It may have faded slightly. There are two types of
cherry sunburst: (a) ’59 Cherry. This was a finish used in 1958, 1959 and
early 1960 Les Paul Sunbursts, (b) 1960 Cherry. In the latter part of 1960,
the paint was switched to a type more resistant to fading. It has a
different hue from the ’59 cherry and it is called tangerine red.
2. Faded Cherry Sunburst
This variation is characterized by moderate fading, but not as faded as
the teaburst.
3. Teaburst
This is the most often seen color variant on Sunburst Les Pauls. The
color would be described as a more faded cherry sunburst, with a
yellowed colored clear coat. This yellowing is caused by aging. The term
teaburst comes from its color being between red and brown, similar to
tea. This color is darker than the honeyburst mentioned later, but
encompasses a wide range of variations.
4. Greenburst (no sample)
In a few instances, the teaburst, or the honeyburst has turned to a
greenish color. This is referred to as a green-burst. This color comes into
being when a base yellow and blue colorant in cherry red are left behind
after the red has quickly faded.
5. Honeyburst
This is a stage in the fading process between teaburst and lemon drop.
It has a very small amount of the sunburst pattern remaining.
6. Lemon drop
This is a term to describe the top with excessive fading — only
vellow remains with no sunburst. The color is very similar to the lemon
drop candy, hence the name. It is occasionally called “un-burst” or “non-
burst.”
7. Darkburst
Very dark sunburst. It is a burgundy or a dark wine red other than
cherry. Some Les Paul tops may have flecks (light brown streaks, which
are one of the characteristics of eastern maple). Darkburst was employed
to conceal such minor imperfections in the carved top.
8. Tobaccoburst
The author considers this to be a variation of number 7 (darkburst).
Darkburst has more blue colorant than regular cherry sunburst. So when a
darkburst fades, the results will be a more brownish hue to the sunburst.
This can be more pronounced due to excessive yellowing of the clear coat
of lacquer.

The Structure of the Finish

Now that we have considered the color variation, we will move on to
the actual structure of the finish. First we must consider the color and
texture of the wood — the maple. This will influence the color of the
finished top. The base coat, which is a very thin coat of clear lacquer
mixed with yellow pigment, also has an impact on the finished product.
So only after you understand these factors are you able to consider the
other elements such as layers of colors and the clear coat. We are using a
scientific approach to understand the guitar — the Science of the Burst.

Exposing the remaining ’59 Cherry sunburst color underneath the

pickguard.
This switch tag was often the cause of dark square spot in this area. The
tag explains the merit of a Les Paul model.

Light brown lines called flecks. Darkburst was used to cover this minor
cosmetic imperfection
1. Color of the Wood
 To unfold the mystery of the Sunburst, we must first understand the
wood beneath the finish — the maple. Maple appears to be white, but
actually the color is not pure white. It has hues of brown and yellow in it.
Also, when exposed to ultraviolet light, maple tends to yellow. Other
factors include chemical changes that affect the resin found in maple, and
oxidation, both of which may darken the wood.
2. Color Layer
(A) Yellow Layer. The yellow layer that sits on top of the maple plays
a very important role in the background of the sunburst. Without this
layer the radiant effect of the finish could not be obtained. As such, this
layer acts as reflective lighting. On the vintage Sunburst Les Pauls,
special pigment was chosen for this purpose. Contrary to belief, Gibson
did not use dye to color the wood itself. The dye stain is not as reflective
as pigment stain. The pigment chosen for this purpose was special. It
remained vivid without hiding the grain. Combining this color layer
along with the highly reflective qualities of maple created the beautiful
sunburst finish of the Les Paul Sunburst. Interestingly enough, this
yellow color layer never fades.
(B) Sunburst layer. The term sunburst is derived from the beautiful
multicolor spectrum of colors that occurs during a sunset on the horizon.
With respect to guitars, the term sunburst refers to the actual spraying of
red paint over the edge of a guitar on top of the yellow base coat. This
produces a “sunset” effect. This procedure was done by hand; the painters
use of the spray gun, the paint viscosity, the weather, and the humidity all
contributed to the final outcome of this arrangement. The role of the
sunburst layer differs considerably from the yellow layer. The sunburst
layer does not actually shine. Rather the layer should be looked at as a
passive color filter from the light coming through from the yellow base
coat. For that reason, contrary to the yellow layer the sunburst layer
employed a dye colorant. This dye colorant has an ideal characteristic for
the sunburst layer because it is translucent. However, it has the
disadvantage of being difficult to apply evenly. Also, as widely known, it
is prone to fading.
 The common belief is that the appearance of this burst layer is due to
uneven fading. This is partly true. However, it is also the case that some
of this unevenness was caused by production procedure. While not so
noticeable when it was new, over time it became obvious that the
multiple layers of dye had been unevenly applied — only to be revealed
later after the top layers had faded. This can be observed at the edge of
the top, close to the end pin.
On Sunburst Les Pauls, the sunburst layer gets most of the aging
affect, resulting in fading or discoloration. This is most common on 1958
models through mid 1960. By late 1960 the paint formula changed, and
the finish became more resistant to fading. This section primarily applies
to the 1959 models. Henceforth, we have used the term fading to describe
a loss of color. Actually, this is a very vague and incorrect expression.
Fading does not occur simply to the red color of the sunburst layer.
Cherry red is not one color — it is a mixture.
Original 1959 Cherry-Red
It is commonly known that the dye colorant red is most prone to
fading. Undoubtedly that is the primary reason that the Sunburst Les Paul
finish will fade. However, that does not explain everything about that
subtle hue of the finish. The mixture of colors goes a long way toward
understanding the aging and fading processes.
A 1959 cherry-red color was comprised primarily of dye colorant red.
To add depth to the color, a small amount of blue was added. Since 1959
cherry-red is in actuality a slightly blueish deep red, sunburst is created
as the light bounces back from the yellow base coat through the cherry-
red layer. So what happens then when this mixture of colors fade? As
already mentioned, red fades fastest. The real issue is the ratio that each
of the two colors that comprise the sunburst fade at.
When the finish is new, the glowing yellow light from the base coat
comes up through sunburst shading. The small amount of blue in cherry-
red, together with this yellow creates green, which is a complementary
color to red.
In the beginning stage of fading, this green is such a low ratio that it
is suppressed by red. However, as time goes by, red begins to fade more.
Yellow stays unchanged. Blue fades but far slower than red. So the ratio
of green against red becomes higher and higher.
At a certain point of this red versus green sequence, the top starts to
take a hue of brown. And this reddish-brown color is the most often seen
teaburst. From there it could become greenburst but usually by this time
blue also starts to fade, so usually it turns into honeyburst. When all red
and blue are gone from cherry-red shading, then there is no shading. It
becomes a ‘Lemon drop.’

The process of Fading

To further understand the topic, let us look at the process of fading in
sequence and consider it with other factors. As stated, the speed of fading
differs from color to color. In other words each color has its own pace of
fading. If only one color is concerned, the pattern of fading remains
constant. However, when fading of certain mixtures of colors are
observed, each color needs to be examined independently. The way each
color fades will impact the total look of the finish.
So as far as Sunburst Les Pauls are concerned, fading does not mean
just a loss of color. In actuality, of all the colors involved, the yellow
from the base coat does not fade. Red, which is the main ingredient of
cherry-red, is added with blue to make cherry-red. Both the red and the
blue fade independently of each other. The change of balance among
these three colors at a given time is fading.

The Causes of Fading

To understand the “fading sunburst” phenomenon, it is important to
know the cause of it. The primary cause of fading is widely known. It is
an exposure to ultraviolet light from various light sources. This makes a
dramatic difference between a guitar kept and stored away for years and
the one always out of the case being played.
The second cause would be a chemical reaction. We often see a
discoloration of the top where the elbow hits during playing. Since the
film of clear lacquer has microscopic holes, acid and ammonia ridden
sweat from the guitar players arm can reach through the clear lacquer,
penetrating the color layer and affecting it. Also, moisture in the air can
have a similar effect on the entire surface of the finish. Since the
ultraviolet fading and the chemical reaction fading are mutually
exclusive they may not happen simultaneously. In different ways, both of
these processes are affected by the climate, temperature and other factors.
Hence, the many variations of the Sunburst’s color are a result of
multiple factors, influences ranging from the slight variations in the
painting on each individual instrument, to the chemical and the
ultraviolet fading that we have just discussed.
3. Clear Coat
We have learned that the light which bounces back from the wood’s
surface through the yellow base coat goes through sunburst shading to
create the glowing sunburst finish effect. However, there is one more
layer the light needs to go through before it reaches our eyes. That layer
is a clear lacquer top coat. The film of clear lacquer is there to protect the
color layer from being rubbed off and also to protect the wood from
moisture and contaminants. This film of clear coat is usually comprised
of several layers of lacquer applied successively. As we know, lacquer
ages or ‘burns’ to a pleasant hue of amber. This means there is one more
film of color laid on top of the sunburst.
The aging or ambering effect of this film is a primary concern here
but first we must understand amber as a color. How does it affect the way
a finish looks? Examined carefully, amber is a mixture of black and
orange. The black comes from the decomposition of lacquer through its
deterioration. This black pigment acts as a subtle obstruction to the light
bouncing back from the wood’s surface. The color saturation and
luminosity is suppressed by this black pigment.
On Sunburst Les Pauls, the subtle balance of bright yellow and this
obstructive black pigment create a distinctive “vintage” look. The orange
element of the amber, on the other hand, gives warmth and depth to the
color. This is also a part of the “vintage” look.
There is one more character to this film. It is virtually a frosted glass.
When new, this film of clear lacquer is buffed and polished to a high
gloss. The more flat the surface, the more radiant it becomes. However,
as lacquer ages, losing small amounts of leftover solvents and
plasticizers, it shrinks and becomes brittle. The film may have numerous
small cracks and checks. Decreased finish would expose the wood texture
underneath. All of these factors together, the surface of the clear film is
given the slight satin look which complements the soft defused light
effect of the overall look of the guitar. In antique jargon, this is called
patina.
As a conclusion, let us lay out the sequence of this phenomenon of the
vintage Les Paul Sunburst effect we just learned about. Light first reaches
the top of the guitar going through the ambered top clear layer, then the
cherry-red shading, the yellow base coat and finally the reflective surface
of maple. Then, it bounces back out going through the yellow base coat
again, cherry-red shading and ambered clear coat. It finally reaches our
eyes after being mixed together with the small amount of defused light
that was reflected by the surface of the top coat film of clear lacquer.
Again, this is the optical process which makes the Sunburst Les Paul
guitar so attractive.

Cherry-Red for the Back of Body and Neck.

On vintage Les Paul sunbursts, the color for the back of the body and
neck is always cherry-red without exception. Prior to ’58, Gibson never
had any red finish as vivid as this. It was first used with the Les Pauls
mentioned as well as Les Paul Juniors and Specials of the same era.
As simple as it may seem, to be just a see-through red, this finish
actually has rather complicated structure.
As with all the other see-through finishes, the color we see is a
mixture of the color of the wood itself, and the color of the paint. Just as
we did for the top finish, let us have a close look at what cherry-red really
is.
1. Color of Material
First of all, mahogany discolors to a far greater extent than maple.
The discoloration is mainly caused by ultraviolet light and oxidation.
Even though the wood is somewhat protected with the paint, 40 years of
aging still takes a toll on the wood underneath. This in turn affects the
outcome, the color we see, considerably.

’60 Cherry
As opposed to ’59 Cherry shading paint which had dye base colorant,
’60 Cherry had pigment base colorant to improve on the fading problem.
As with the yellow base coat, this shade contained a special pigment that
gave it its translucent character. This color, referred to as
“tangerineburst” among collectors, is somewhat shallower in color. The
shallowness comes from the nature of pigmented paint. Also, enhancing
color such as blue might not be added to avoid muddiness. Muddiness
often occurs when pigment ridden paint of different color is mixed
together.

Darkburst
As explained in the main text, there were a few variations of sunburst
shading color. It is most often seen in the ’59 Cherry Sunburst, next often
seen ’60 Cherry Sunburst and the rather rare “darkburst” as described
earlier. As the color is much darker to begin with, its pace of fading
seems to be slower. When it eventually fades, it most often becomes
browner than the regular teaburst. This fact suggests that dark shading is
not just a stronger cherry-red. It most likely had more blue.
The top clear coat has been worn through. Since the sunburst shading is
totally faded away, exposed yellow is actually the color of the base coat.
Also the ambering effect of clear coat can be observed.

The sunburst shading’s spray pattern overlaps in the center making this
spot darker. When new, the intensity of the color in the adjacent area
hides the difference. As fading proceeds. it becomes noticeable.
This area just by the fingerboard is a difficult spot for spray coloring. As
a result, repeated application made the color darker. As above it was not
noticeable when new.

Fading can occur as a result of chemical reaction. This particular area of

the top is often affected by the sweat.
2. Pore Filler
Compared to the rather neutral whitish color of maple for the top,
mahogany has its own distinctive reddish brown color. Gibson’s cherry-
red was designed to complement this natural beauty of the wood. What is
most important here is the presence of unique pore filler. During this era,
roughly between 1958 and 1966, Gibson used red colored pore filler for
the cherry-red finish. Regular type of pore filler is supposed to be
somewhat brown colored — usually between natural and walnut —so this
vivid colored pore filler must have been custom made. Pore filler is used
for porous textured wood such as mahogany and ash. It is rubbed on and
then wiped away to fill microscopic pores. One purpose of it is to
efficiently achieve a totally flat mirror-like finish on the wood. Without
it, one must apply numerous layers of paint resulting in poor curing of the
finish and an excessive amount of labor. The pore filler’s other merit, at
the same time, is to accentuate the grain and to give three-dimensional
depth to the finish. For this purpose the filler is usually given a darker
color than the paint. Naturally, the paint has to be of the see-through type
to get this effect. Technically, pores are what used be microscopic-
pipelines that carried water and nutrients through the tree. After the wood
is cut to lumber, according to the angle of cut, it appears on the surface as
round and oval holes as well as long grooves. As we see on the back of
the body, they are grooves. Each groove size varies from around 1/64″
wide x 1/16″ long to 1″ long. In these grooves, a heavy cream with the
consistency of paste is applied. This liquid pore filler is a mixture of
pigment such as ground silex, drying oil and other additives. It is
vigorously brushed on, let to dry only on the surface and wiped away.
This way, all the filler on the surface is removed. As a result, numerous
colored and plugged pores are created. This process takes place along
with the application of the color. Cherry red dye, mixed with the pore
filler, dyes the wood as the filler part fills the pores. When the top coat
(clear lacquer) is applied, we see the mixed color of the wood and these
numerous pores through a color filter of cherry red. This colored layer is
created by the cherry red dye in the wood bleeding into clear lacquer.
Through studies and experiments it becomes apparent that a finish with
this clarity and depth cannot be achieved in any other way. The numerous
tiny red lines created by red filler gives the finish the effect of pointillism
while adding warmth, clarity and depth.
Same as what it did to the top finish, ambered clear top coat of
lacquer complements the vintage look.
 As explained in this chapter, the finish coating of a Les Paul Sunburst
was originally designed to maximize the beauty of material by combining
unique characters of each colorant and paint. That is the reason why it has
a rather complicated structure of multiple layers. Moreover, the structure
is further influenced by an invisible force of nature’s aging effect. This is
how the beauty of the burst is created.

The Color of Body Back

Cherry red with almost no fading. It is a vivid see-through red.

Medium fading. Color is turning slightly orange.
Excessively faded example. It is virtually light orange. At this stage, red
filler becomes noticeable.

Red filler can be seen as numerous short red lines. Note small dried drip
inside edge of control cavity where a brush got trapped when the filler
was applied.
 STUDY OF THE FIGURE
A THREE-DIMENSIONAL PHENOMENON

Figured Tops of the Sunburst Les Pauls

THE INTRODUCTION OF THE FIGURED TOP

In the late ’50s, the Les Paul models experienced a drastic cosmetic
specification change. In late 1958, the color of the top became sunburst,
but not an ordinary one. It was a strikingly vivid cherry sunburst.
Since the days of the gold tops, the material for the top had always
been maple. Although the material itself did not change, the exposure of
the wood required Gibson to upgrade the quality of the material. This was
the introduction of the two piece figured top. Prior to this, Gibson had
been using high-grade figured maple as a back material for jazz guitars
such as the Super 400 and the L5. It was only natural that the same type
of wood be used for the Les Pauls. It is true that the production procedure
of those fully acoustic guitars is much closer to that of the violin. Though
this procedure differs greatly from solid body production, it contributed
tremendously, giving the Les Paul model the feel of a traditional Gibson.
According to Ted McCarty, then the president of Gibson, the type of
maple utilized was procured mainly in Michigan. However, because of
the rarity of the wood and Gibson’s unusual dimensional requirement, the
supply was very scarce. Most of the time, lumber mills would cut the
board to the thickness of 4/4 for flooring. 4/4 is a lumberyard term
meaning that the board is rough sawn at 4/4″. From there, the rough sawn
board needs to be surfaced, losing some of its thickness. So to produce a
1/2” top, the Gibson factory could not use the standard 4/4 cut and had to
start with at least 5/4 lumber. Since the larger mills aimed at efficiency
and were reluctant to custom cut the logs in any arrangement, Gibson had
to obtain the material from smaller lumber mills.
Among the existing Sunburst Les Pauls, the percentage of the ones
with any figure on the top is less than one-third. Out of this group, about
half have figured tops. The book-matched top with strong figures
covering the entire top is believed to be a very small percentage of the
total number.
 LES PAUL STANDARD
This beautiful solid body guitar incorporates many unusual Gibson
features. Cherry sunburst carved maple top, mahogany body and neck.
Combination bridge and tailpiece is a Gibson first. Tailpiece can be
moved up or down to adjust tension. Tune-O-Matic bridge permits
adjusting string action and individual string lengths. Finish in the striking
cherry sunburst. Nickle-plated metal parts and individual machine heads
with deluxe buttons. Deluxe padded leather strap included.
Slim, fast, low-action neck—with exclusive extra low frets, joins body at
16th fret
One-piece mahogany neck, adjustable truss rod
Rosewood fingerboard, pearl inlays
Graceful cutaway design
Adjustable Tune-O-Matic bridge
Twin powerful humbucking pickups with separate tone and volume
controls which can be pre-set
Three-position toggle switch to activate either or both pickups
12¾″wide, 17¼″long, l¾″ thin … 24¾″ scale, 22 frets
Les Paul Standard Cherry sunburst finish $265.00
535 Faultless, plush-lined case $42.50
ZC-LP Deluxe zipper case cover $30.00
The Les Paul Standard as it appeared in 1960 catalog. Note the book-
matched curly maple top.

The Types of Figures Seen on the Sunburst Les Pauls

THE NAMES FOR THE FIGURES
As seen on the graph pages, there are several different patterns of
figure that appear on Sunburst Les Paul tops. I would like to categorize
them according to the terms that are used by collectors.
1. Flame
2. Tiger stripe
3. Curly
4. Fiddleback
5. Pin stripe
6. Ribbon curl
7. Blister
8. Bird’s eye
More than two of the above figures can co-exist. Following is an
explanation for each name.
1. Flame
The most common expression to describe the figure. Although a kind
of tiger stripe, the figure of “flame” is more interlocking and has more of
a “flickering” effect when viewed from different angles.
2. Tiger stripe
The figure with prominent stripes. This usage is often mixed with
“flame,” and usually when the stripes are thicker than ¼″.
3. Curly
This is a rather vague word and can cover a lot of different figures
except bird’s eye. In this book, it is used to categorize wild figure
patterns.
4. Fiddleback
The stripes are consistent. The thickness of the stripes is between that
of “tiger stripe” and “pin stripe.″
5. Pin stripe
This term is used to describe the thickness of the stripes rather than a
pattern. Usually 3/16″ or thinner.
6. Ribbon curl
Usually runs randomly across the top. It resembles wide (around 5/8″
and wider) twisted ribbons.
7. Blister
One of the rarest figure patterns. It is not a stripe but rather a bubble-
like figure, somewhere between bird’s eye and quilt.
8. Bird’s eye
The figure that resembles the eye of a bird. Although not so
uncommon as a figure pattern in maple, it was rarely used on Les Paul
tops.

The Matching of the Grain and Figure

BOOK-MATCHING
The word book-matching is frequently used in the discussion of
Sunburst Les Pauls. However, the word is sometimes used without
definition. So what does book-matching really mean? Used for centuries
in furniture as well as musical instrument making, book-matching is the
method where two pieces of wood are joined together in a certain manner
to maximize the beauty of the wood. It starts as a block of wood twice as
thick, sliced in half and then opened just like a book (see figure 1).The
sliced surface on both boards shares the pattern so when opened, the two
surfaces together form a symmetrical pattern which creates pleasing
visual effects. On acoustic musical instruments such as violins and
guitars, this method serves a double purpose creating dimensional
strength as well as stability. Ninety-degree vertical quarter sawn boards
are used on such instruments.
Since they are not carved out from the back, but are joined to
dimensionally stable mahogany, Les Paul tops do not require this strength
factor. For this reason, Sunburst Les Paul tops can have quarter sawn, rift
sawn or flat sawn grain creating various pattern combinations of grain
and figure. This variation further creates matching methods other than
book-matching.
 In the following paragraph, I would like to focus on maple as a
material to explain the relationship of the grain and the figure on
Sunburst Les Paul tops.
MAPLE AS THE MATERIAL FOR THE TOP
The origin of maple used by Gibson has been the focus of many
discussions. I believe that the material was of American origin without
exception. There are three kinds of maple in North America: Western
maple, Eastern maple and Hardrock maple. In general, the farther west
the softer the maple, contrary to eastern maple which is harder. Any one
of these three kinds can have the figure, but the ones that Gibson used
were eastern and hardrock.

THE GRAIN AND THE FIGURE

Before we go into any depth on this topic, we must first define the
true meaning of grain and figure (see figure 2). The grain is a two-
dimensional pattern that appears on the surface of lumber. The annual
rings are created as the tree grows, the darker line being the slower
growth during winter. These lines, when cut at certain angles create
different patterns on the surface. When quarter sawn, these lines form
almost parallel stripes while flat sawn cuts exhibit a very irregular cloud-
like flowing pattern.
The figure is a totally different phenomenon on the wood which
creates a three-dimensional illusion to the human eye. It is caused by a
drastic change of the wood fiber orientation as well as its density. It
usually “inter-locks” with the grain. Although the surface of the lumber
may be flat, the light being reflected from a certain pattern by the
direction of the wood fiber creates the aforementioned three-dimensional
effect.
 There is a close relationship between the grain and the figure, and
together they create countless variations in the tops of Sunburst Les
Pauls. The following paragraphs will explain how they are related from
the grain orientation point of view.
GRAIN ORIENTATION
The grain and the figure of the board is determined by the way the log
is cut (direction, angle, part of tree, etc.). There are three categories by
which cut lumber may be sorted (see figure 3).
1. Quarter sawn
2. Rift sawn
3. Flat sawn
1. This is the kind of cut where the board shows annual rings running
at a right angle to the surface. Usually straight parallel grain lines appear
on the surface.
2. This is between 1 and 3 and has annual rings running at an angle
around 45 degrees. The grain on the surface is a combination of a straight
line and a cloudlike pattern.
3. This is the type with the annual ring-running almost parallel to the
surface. The whole surface has a cloud-like grain pattern.
THE LOG SLICE PATTERN AND THE FIGURE
Unless specifically instructed, the lumberyard will cut a log in the
pattern called the “slab” cut, which is to slice the log in parallel lines
without turning. On the other hand, the log for violin backs are specially
cut to obtain every piece as quarter sawn.
To procure enough quantity of quarter sawn figured maple in the size
of Les Pauls (which are considerably larger than violins) at a reasonable
cost was an impossible task even for Gibson. As previously mentioned, it
is necessary for a carved violin back to be stable, but not the top on a Les
Paul. So to avoid unnecessary costs, which in turn would be reflected in
the list price, Gibson opted to select the lumber by its figure only. Gibson
already had problems procuring the lumber with its odd dimension
requirement of 5/4 lumber, so this decision came out of necessity.
 When the lumber is cut from the log using the “slab” method, few
boards become totally flat or quarter sawn. The majority are a
combination of the two, which is rift sawn. Interestingly enough, this
balance of the mix matches what we see from existing examples.
As a rule of thumb, the following could be said of the relationship
between the slicing pattern and the figure.
1. Generally, figure is strongest on quarter sawn boards.
2. On the other hand, figure may not be so prominent on flat sawn
boards.
3. The figure of a perfectly quarter sawn board may not have the most
“movement” as the viewing angle changes; the surface may not be as
reflective.
THE GRAIN AND FIGURE AS THEY RELATE TO TOP
CONTOUR
The graceful top contour of the Les Paul is created by carving a block
of maple. It is rough carved first with a machine copying a three-
dimensional pattern made of steel. The cutter marks are then smoothed
out using a stroke belt sander. This special industrial sander has a long
belt running in front of the operator just above the top being contoured.
The operator then holds a cushioned pad against the running belt to create
the desired contour. With a skilled hand, this method can bring out
amazing results.
On the ’50s Les Paul, the thickest center part of maple measures 1/2″
while thinnest outer edge measures about 9/64″. A considerable amount
of wood is carved away to get that contour. What is interesting here is the
relationship between this carved contour and the aforementioned top
matching. As already stated, a symmetrical book-matched top is very
pleasing to the eye. In the case of furniture, where most of the surface is
flat, this always holds true as the surface of the cut stays almost intact.
On the contrary, on a three-dimensional surface such as the top of a Les
Paul, the pattern may not match anymore as the original cut and matched
surface gets carved away. The center part of the top is not affected much
but the outer edge where 23/64″ of the maple is removed renders it quite
noticeable. With the exception of a perfectly quarter sawn block, the
farther away the carved surface is from original, the more the grain and
the figure differ, making the matched pattern asymmetrical.
 In the case of Sunburst Les Pauls, as already mentioned, the majority
are either rift or flat sawn. Thus, many of them have an asymmetrical
pattern. As a rule of thumb, the more the top is flat sawn, the more the
pattern becomes asymmetrical. However, the figure appearing on more
flat sawn pieces tends to be wavy and interesting. Sometimes flat sawn
tops are favored for this reason.
Rift sawn, as explained, is between quarter sawn and flat sawn in
character. Among variations in rift sawn, ones that are close to quarter
sawn are favored for their slightly wavy stripes.
This figure is what collectors call “Flame.” This name was given as it
is very three-dimensional and “flickers” or “simmers” as the viewing
angle changes. Interestingly enough, this figure is seldom if at all seen on
perfectly quarter sawn lumber. On rift sawn tops leaning towards flat
sawn, the figure becomes as explained in figure 5. Another typical
example of the top pattern appears when the lumber shows a rift sawn
pattern on one edge and a flat sawn one on the other. This means that the
factory had two options to choose from. One was to book-match with a
quartered edge in the center and the other was to join the flat sawn edges
together. While both are seen on Sunburst Les Pauls, the majority are the
former “Quarter in the center” pattern.
MATCHING METHODS OTHER THAN BOOK-MATCHING
Les Paul tops do not require perfect quarter sawn lumber as violins
and full acoustic guitars. This is because the top is not carved out from
the inside. Due to the fact that it is rather thick and laminated to an even
thicker mahogany backing material, the structural strength, as well as
stability, is already secure. We can observe many variations of top figure
as a result. From when it was procured, the lumber would go through a
series of checking and screening processes before it became the top of the
Les Paul. The process would have been somewhat like the following.
1. Slice the lumber in half to get a book-match.
2. From the rest of lumber that did not get book-matched, for reasons
such as cosmetic imperfections, good pieces are saved and matched
within the same lumber for color, figure and grain. Since it is not a book-
match anymore, it is not necessary to flip one of the boards. As the bark
(surface, as opposed to core) side of the tree usually has a more
prominent figure, the boards are matched with this side up. It also helps
the figure to stay somewhat similar even after carving. This is called
flitch-matching.
3. Those that did not make process 1 and 2 are matched for color only.
This is color match.
4. The rest is not considered to be usable. Two and 3 may need some
more explanation.
FLITCH-MATCH
As explained above and from figure B, this word is for the side-by-
side figure-matching. Although the figure and grain cannot be perfectly
symmetrical, this method could sometimes bring surprisingly pleasant
results if the boards are taken from the same lumber.
COLOR-MATCH
As a manufacturer, the waste of good materials should always be
avoided. If abused, the cost would be reflected in the end product. As the
sunburst finish is a variation of a see-through finish, the overall
appearance will be affected by the color of material. So rather than
risking the matching of figure from different lumber, the factory would
have opted to do a color-match from the same lumber to be on the safe
side.
PAF, THE HEART OF THE BURST

A Standard for Double Coil Humbucking Pickups; Its History

Gibson’s innovative double coil humbucker, model P-490, was
invented in 1955 by Seth Lover, then an engineer of Gibson’s R & D)
team.
The concept for the research was to develop a kind of pickup that did
not hum. Hum was a result of the pickups actually picking up extraneous
electrical noises caused by transformers and such. Since it was a largest
obstacle for sales of electric guitars for Gibson at the time, Lover was set
to eliminate this problem.
It was indeed an innovation in the sense that it contributed to the
development of electric guitars that could be played at higher volumes.
The first prototype, still in existence, is exactly like the drawing
shown here. This means the R & D work was complete and Gibson had a
complete working model prior to the patent application.
The molds and toolings were made during the course of 1956. It was
put into production in late 1956 or early 1957 and installed on solid body
models and other high-end hollow body models.
In 1958, Gibson decided to attach a small sticker to the bottom of the
pickup baseplate. It read PATENT APPLIED FOR. Though the lettering
is small, it has become one of the most known buzzwords among the
guitar enthusiasts. The purpose of attaching the sticker was to discourage
competitors from copying the design.
The basic structural design did not change between 1957 and 1960.
There was one cosmetical change that took place during this period
although it was never intended to be exposed and used for identifying its
year of production or originality. Sometime in 1958 Lover received a call
from his vender of plastic parts. They were claiming that the coloring
material for the black plastic bobbins was in short supply. When asked,
Lover approved the change of color to the same cream color as used for
the pickup mounting ring. The bobbins were to be hidden underneath the
cover so the color difference did not matter. As Gibson started to take
delivery in ’59, the newer cream bobbins were mixed with leftover black
bobbins creating “Zebra” pickups. It seems that the non-adjustable side
bobbin was delivered first, as we see the majority of Zebras that way. As
the old batch of black bobbins got used up, the pickups became “full
cream.” This configuration is also called “Double Whites.” The
production of the black bobbin was resumed in late 1960.
The first structural change on the P.A.F. occurred in 1961, shortly
after the single cutaway caned top Les Paul was discontinued. The
magnet became smaller in an attempt to standardize the production of
pickups. For example, the Melody maker pickups had shorter 2-1/8”
magnets. Original P.A.F.s had 2-1/4” magnets. So it was a natural
decision to standardize to one length. This change was implemented
coinciding with the opening of Gibson’s new electronics production
facility. With increasing demand for electric guitars, new machines were
brought in. Among them were winding machines for pickups.
Prior to this. Gibson had used winding machines that did not have an
automatic stop capability. The operator had to visually check the
mechanical counter and stop the machine at a certain number of turns. As
a result, most of them were slightly overwound beyond the specified
number of 5,000 turns. It was inconsistent since there was a time lag
between the machine reaching 5,000 turns and when the operator hit the
switch. It could mean a few hundred extra turns, enough to change the
sound of the pickup.
To improve the production efficiency, the new winding machines
brought into the new facility had automatic shut-offs. This resulted in
precisely 5,000 turns on each coil.
In ’62 the sticker finally received a number, but oddlv enough, it was
the number for the Trapeze tailpiece. There is no structual difference
between ’61 P.A.F.s and ’62 patent-numbered humbuckers.
 The Structure and Noise Canceling Theory
The design of Seth Lover’s humbucking pickup was believed to be
inspired by the method of eliminating hum noise caused by a power
transformer in an amplifier design. It basically is an idea to divide a coil
in half, thus making a double coil structure.
What Lover noticed was the fact that the electrical interference is
sensed by the coil only. By having two coils of equal wire turns, and
wiring them in series but in reverse wind fashion, he was able to make the
coils cancel each others hum. Two coils were to have the same level of
noise but out of phase.
On humbuckers the magnetic flux is more concentrated as the opposite
poles are closer.
Regular black bobbin P.A.F. Pictured here is a ’61 short magnet version.

The covers for P.A.F.s usually have hard edges. This was because the
forming mold was new. Over time the mold got worn, it lost the
sharpness on the edges and corners.
The end of each bobbin has a small square hole called a “Square
window.” Note the round frame around square hole.

Reverse side of mounting ring. Part number and maker’s marking can be
seen.

A Zebra with cream colored bobbin on non-adjustable side

On P.A.F.s, AWG #42 single build plain enamel magnet wire was used.
Note deformed bobbin. It was caused by the tension of magnet wire

Unlike the top hole, the bottom hole does not have a round frame. As seen
here, this hole is actually used to take lead wire out.

Patent applied for decal

The rarest “Double Whites.” It is also called “Full cream.”

Side view

Longer magnet used prior to 1961. It is ⅛” longer than the later ones.

On Sunburst Les Pauls, the height of mounting rings are ¼” on front

pickup.½” on rear pickup.
As it is, the signal (alternative current) created by the string vibration
would also cancel out. However, Lover’s sharp mind figured out that if
 one of the coils’ magnetic polarity is reversed, only the signal from the
string vibration would come back. Truly a remarkable invention.
Prior to the P.A.F., a majority of Gibson electrics were fitted with P-
90 pickups. This pickup utilizes two Alnico bar magnets that sandwiches
the bottom end of the pole piece. Magnetic flux would then be dispersed
between the tip of the pole piece and the other end of the magnet.
On the other hand, Lover’s double coil humbucker described above
has one magnet supplying opposite polarity for each coil. This double
coil/double pole piece design makes two rows of pole pieces exposed on
top of the coils to be close to each other. This design, compared to P-90’s
radiating magnetics flux pattern, creates a much more intense and dense
magnetic field. Magnetic flux forms a bridge between a set of pole pieces
over which the string vibrates. Utilizing only one magnet, this design is
one of the most efficient electromagnetic circuits for pickups. As a result,
output is considerably higher.
The bobbins are attached to a German silver base plate which also
acts as a shielding plate. The bobbin’s side and top is shielded with a
square metal cover also made with German silver. Topped with shielded
lead wires, it is indeed a pickup with a perfect noise canceling system.

P.A.F.: Key to the

Sound of the Sunburst Les Paul
Defined as the heart of the Sunburst Les Pauls, the P.A.F.’s truly
expressive tone can be heard on many legendary recordings. To name a
few:
Super session (Michael Bloomfield)
Live in concert (Joe Walsh/James Gang)
ohn Mayall and Bluesbreakers with Eric Clapton (Eric Clapton)
English Rose (Peter Green/Fleetwood Mac)
Live (Paul Kossoft/Free)
Filmore Live (Duane Allman/Allman Brothers)
It is most difficult to describe in words, but if pressed, I would
describe this unique pickup’s tone as “wide in range with distinctive
clarity, yet mellow.” Moreover, each note is accompanied by a distinctive
higher frequency overtone that some players may describe as “singing
tone” or “weeping tone.”
Reflecting its wide tonal range, P.A.F.s are often used by blues
guitarists. Included in the list above, late ’60s British rock found a perfect
combination between P.A.F. equipped Les Pauls and their domestic
Marshall amplifiers. The sound created by a combination of these two
greatest tone generators in history could be claimed as the one that laid
the foundation of rock music.

Patent drawing for

humbucking pickup.

Inventor: Seth E. Lover

Filed: June 22nd, 1955
Granted: July 28th, 1959
Seth Lovers humbucking pickup as it appears on U.S.patent drawing. It
was filed on June 22nd, and granted July 28th,1959. The drawing shows
its structure in details. Upon close examination, one can discover that
there are no adjustable pole pieces. Also the mounting ring is still P.90’s
dog ear shape. For the prototype which this drawing was made from.
Lover made bobbins by gluing pieces of plastic. Middle drawing shows
other variations of the double coil humbucking pickup. One version
shows two coils sharing one row on the pole piece.

Humbucking pickup adjustments

instruction sheet.
An Instruction sheet for humbucking pickups. It explains how to set the
height of pickup according to string action change. It instructs the owner
to adjust the height of pickup by turning two small screws on the
mounting ring. It recommends to keep the distance of string and top of
the pickup at 1/16”.
 HARDWARE

All of the hardware on the Les Paul Sunburst was inherited from prior
production gold tops. Although the color configuration of the cream
plastic parts and the gold knobs did not change when installed on a bright
cherry sunburst guitar, it lent a new look to the Les Paul. This contributes
significantly to the beauty of the ’burst.
Another aspect is the plating of the metal parts. Prior to 1965, all the
metal parts (except gold) were plated in nickel. Compared to the much
shinier chrome plating, nickel has more of a classy diffused shine. This
also contributes to the “vintage” look.

The base of an ABR-1 is cast from a zinc alloy. The saddles are machined out of brass. Both are
nickel plated.

Top view. Note the saddles are reversed for the high string and the low string.

Even the parts from this era, especially the cast metal ones, seem to
express their individuality. Parts such as the bridge and tailpiece were
originally made for function, but each one was carefully shaped by hand,
and therefore every one is unique. This individuality is one of the
important key factors of vintage guitars.

Bottom view of the ABR-1. ABR stands for adjustable bridge.

The adjustment screws, pointed end is showing through the holes.

Collectors talk about parts with extensive interest. The fact that there
is a surprisingly vast amount of information one can deduce from parts
(such as year of production and originality) is enough to understand their
enthusiasm.
Front view of the ABR-1. Unlike the later Tune-O-Matics, there is no retainer spring to keep the
saddles in place.

Side view. The top of the saddle is much sharper than in later years.

BRIDGE
Gibson’s first fully adjustable bridge was invented by Ted McCarty.
It is officially called the Tune-O-Matic bridge, as it tunes with the turn of
a screw. The part number was ABR-1 and it first appeared on the regular
Les Paul in 1955, although the Les Paul Custom incorporated this bridge
from its first year of production in 1954.The base part was cast with zinc
alloy and the saddles were machined brass. Both were nickel plated. It is
a well known fact that McCarty was inspired by the way a violin’s bow
works. A part called the frog at one end of the bow moves back and forth
with a turn of a screw located at the bottom end of the bow. As it moves,
it changes the tension of the hair. McCarty made his bridge adjustable by
placing 6 individual frogs on it as saddles.
This revolutionary invention is surprisingly compact thanks to
reversible saddles. One need only turn the saddle around when more room
for adjustment is needed. To assist this system, the bridge is pre-slanted
to compensate for some of the gross adjustment that could use up the
travel of the bridge saddle. On the first version, the saddles were
supposed to be held in place by the snug fit of the parts. However, after
some adjustments the parts would wear and the saddles would become
loose and fall out if a string broke. For this reason McCarty eventually
decided to add a retainer spring over the screw heads.
TAILPIECE
 The original version of the tailpiece installed on the Les Paul
Sunburst was a cast aluminum part that was nickel plated. Since nickel
plating over aluminum required many extra steps in production, the
material was changed to a zinc alloy in the ’70s. According to Ted
McCarty, designer of the tailpiece, aluminum was chosen because of its
light weight. The original cast aluminum version required a lot of hand
work done once it came out of the mold. Since the surface of the part was
very rough coming out of the mold, it was filed, sanded, buffed and then
plated.

On ABR-ls, the low E saddle is usually moved back to its limit.

Back view of the tailpiece. Close examination reveals that the larger diameter hole was redrilled
after plating.

Prior to this, a very similar design was used as a one-piece bridge.

Designed by Ted McCarty in 1952-3, this “Wraparound” style bridge had
its own merits and was still employed on Les Paul Juniors and Specials
even after the regular model made the switch to ABR-1 in 1955.
Simply put, with some design modifications, the stop tailpiece we see
on post-1954 Les Pauls is this wraparound bridge moved behind the new
ABR-1 bridge. When that was achieved, the action height adjustment
utilizing the studs became an innovative string tension adjustment
system.
TUNERS
The tuners were made by Kluson, a factory located in Chicago.
Kluson’s tuners, used by numerous guitar companies at that time, were an
industry standard. Although the quality of their products were topnotch,
during the late fifties they had some problems with plastic button
discoloration and shrinkage. This actually coincided with the birth of the
Les Paul Sunburst. As a result, we see a considerable number of Les Pauls
with the tuners exhibiting that condition. There are two types of Kluson
Deluxes used with the Les Paul Sunburst. The first version, the “Single
ring,” has one hump at the base of the button. Later on in 1960, one more
hump was added. This second version is called the “Double ring.”

Tailpieces are hand filed and hand sanded after they are removed from the mold. Because of
this, each one takes on a slightly different shape.

Front view of tailpiece. A few mold marks can be seen.

CONTROL KNOBS
 The type of knobs called “Top hat,” inspired by its shape, came into
use at about the same time that the ABR-1 bridge did. In 1960, the shape
was slightly changed and a gold colored aluminum disk was attached to
the top.
SWITCH KNOB
The switch knobs of this era are slightly flat on the tip. They are also
made of very brittle plastic, and would turn to an amber color.
PICKGUARD
Many collectors associate the Les Paul pickguard with the tail fin of a
rocket. It presents an exquisite contrast to a rather traditional body
design. Rather than being a mismatch, this contrast actually accentuates
the Les Paul’s beauty. It is attached to the body with one small screw next
to the fingerboard and with a bracket that raises the plate over the waist
of the body. The original version in this period was cut from a sheet of
rigid vinyl (a type of plastic) whereas the ’70s ones were molded with a
different type of plastic.
TRUSS ROD COVER
Truss rod cover is made from a black and white two-ply sheet of
plastic. It is attached to the headstock with two very short screws as not
to disturb the truss rod’s function. After the part is punched out from the
sheet in the shape of a bell, the top black edge is beveled with an angled
cutter to expose the white ply underneath.

Bottom view shows the mold seam and sanding mark. A sander was used to flatten the bottom
surface so that the tailpiece would fit the stud.
This example shows hand filing inside the stud hook.

A mold mark inside the stud hook

A “Double ring” Kluson Deluxe used after 1960

The bottom view showing gold paint

 Yellowed switch knob.

Side view of the tailpiece showing evidence of hand shaping.

A gold “Top hat” knob used by Gibson after 1955. It is actually made with clear plastic, and the
gold color comes from the paint applied on the bottom.

The output jack plate of this era was not molded but stamped out of a sheet of rigid vinyl. Note
 the original color where the washer was.

The Les Paul pickguard is shaped like the tail fin of a rocket

Many late fifties Kluson Deluxes became discolored and shrunken as demonstrated by this
example.

The side view shows that the hole to accept the potentiometer shaft stops short in the middle.
 This capacitor was called the “Black Beauty” by its manufacturer. Sprague.

The bell shaped truss rod cover. It is punched out of a black and white two-ply plastic sheet.
The edge is not just stepped but rather beveled at a certain angle to expose the white underneath

The patent drawing for the Tune-O-Matic bridge

Inventor: Theodore M. McCarty

Filed: July 5th,1952
Granted: April 3rd, 1956
The Tune-o-Matic bridge was invented by Ted McCarty, who was then the president of Gibson.
It was filed on July 5th,1952 and granted on April 3rd.1956.
It’s strong point is the ability to allow the octave tuning of each individual string by means of an
adjusting screw. In the course of development, McCarty was inspired by the way the tension
adjuster works on a violin bow.

Instruction sheet for the Tune-O-Matic bridge

 Hang tags, a set of strings, instruction sheets and a strap.
These all came packed with the guitar.

INSTRUCTIONS
TUNE-O-MATIC BRIDGE*
What it does:
Makes it possible to tune your guitar to perfect accuracy on each individual string, at the
bridge.
Permits precise adjustment for intonation, regardless of string gauge.
Saddles can be reversed individually, for full range of tuning.
Easily raised or lowered to suit individual preference for solid or feather touch action.
Makes possible longer sustained tones, and increases the playing life of each string.
Allows precise adjustment of each string even under full tension.
Reduces distortion caused by imperfect intonation.
Adds to the beauty and appearance of your guitar.
How to install:
Remove old bridge and place Tune-O-Matic bridge in same relative position on guitar.
Be sure to have the individual saddle adjusting screw heads towards the fingerboard.
Tighten the individual strings to approximately correct pitch.
Adjust action height with the thumb nuts in the usual manner. The action height may vary with
instruments and players.
Now tune the guitar to perfect pitch.
For fine tuning, pluck the harmonic at the 12th fret, and then depress the same string to produce
the true octave. If the harmonic is sharp, turn the screw for that string counterclockwise until the
octaves match. If the harmonic is flat, turn the screw clockwise.
Repeat No. 6 for each of the other strings.
f you prefer you may notch the saddle top very lightly with the edge of a file.
f necessary to remove or change saddles, snap out by pushing on the screw head with your
thumb.
Your Tune-O-Matic bridge is precision made of finest materials and with reasonable care should
give you a lifetime of trouble-free service.
Product of

GIBSON, INC.
Kalamazoo, Michigan
* Parent Pendlno

Gibson packed this Instruction sheet in the case pockets. It first explains
the advantage of the unit being adjustable to perfect accuracy, then goes
on to claim longer sustain and string life. The bottom half explains the
installation and the procedure for octave tuning.

The patent drawing for the stud bridge/tallpiece

Inventor: Theodore M. McCarty

Filed: January 21st,1953
Granted: August 2nd, 1955

A U.S. patent drawing for the stud bridge/tailpiece invented by Ted McCarty. Not only was he
the president running the entire business, but he also had an engineering degree and was deeply
involved in research and development.
It was filed on January 21st, 1953 and granted on August 2nd, 1955. linstalled on the gold top
Les Pauls in 1953, the string action is adjustable via a stud screw on each end and octave tuning
was made possible by two small set screws that butted up against the studs. In 1955, when the
Tune-O-Matic bridge came into being, this part became a tailpiece and was moved behind the
bridge. The adjustable stud arrangement then became a means of adjusting the string tension.
This drawing shows the anchors inside the body and how the strings run inside the tailpiece.
FROM GOLD TOP TO SUNBURST

The Development of the

Solid Body Guitar
One of the most important events in Gibson’s over 100 year history
occurred with the birth of the Les Paul model in 1952. Known primarily
as a manufacturer of traditional guitars such as the Super 400 and the L5,
the almost controversial idea of a solid body electric guitar took
considerable effort and persistence to become a reality. Although now
categorized as a mainstream electric guitar, back then in the ’50s the Les
Paul was considered unorthodox.
Prior to the debut of the official Les Paul model, Les Paul himself,
then the most popular guitarist as well as the inventor of multi track
recording, had approached Gibson with his idea of a solid body electric
guitar. He already had the prototype called “The Log” and tried to
convince Gibson to produce it, explaining its merit over conventional
guitars.
As a company of much history and prestige, Gibson was too
conservative to relate to such an odd idea. It was impractical and too
unreal for them.
In the meantime something was happening on the other side of the
Rockies. From the far corner of Southern California, a man by the name
of Leo Fender, who was formerly a radio repairman, formed a company
and started building solid body electric guitars and amps. They completed
their first one, called the “Broadcaster,” in 1950.
The first production solid body electric, the “Broadcaster,” was well
accepted by guitar players, contrary to what some in the industry might
have thought. Its merits, the pure tone and sustain, and total
controllability of the volume, were well recognized by reputable
musicians, especially Country & Western musicians.
Although Fender was a relatively small company, the top
management of Gibson’s parent company, CMI (Chicago Musical
Instruments) realized the potential of the company and its product. This
concern consequently led them to change their mind 180 degrees on solid
body development.

Shortly before this situation arose, in 1948, a special person came on

board with Gibson. His name was Ted McCarty. He was hired by Maurice
Berlin, CEO of CMI, to turn Gibson’s business around. Although the
brand name commanded such high respect, the company had been losing
money for a long time. Formerly working for Wurlitzer, the well known
music retail chain for 12 years, his sense of management was keen, and
with it, effected a major turn around for the company. Within a few
months, the company started showing profits.
He had the rare ability to not only manage, but also participate in
research and development as an engineer. With his initiative, Gibson was
set to develop a solid body electric. According to the personnel involved
in the development of the Les Paul model, the majority of research and
development was done by Gibson’s R&D) team respecting Les’s concept
of solid body construction. After about one year of design, the first
prototype was completed and taken to Les Paul.
 At that time Les was doing recording work at his cottage on the
Delaware Watergap. As Ted McCarty recalls in the foreword of this book,
the prototype shown to Les had a sunburst finish. However, after the
meeting, the color was changed to gold. In addition, the bridge was
changed to the trapeze style that Les had designed.
The endorsement contract with one of the most popular artist at the
time was truly an encouragement for Ted McCarty. However, even then,
there were voices within the company who hesitated to incorporate the
prestigious Gibson name with something of an unknown nature. In fact, at
one time there was an idea of not having the Gibson logo anywhere on the
guitar, just calling it the Les Paul guitar so that the company wouldn’t
lose face if it failed. Fortunately, this did not happen, and the gold top
Les Paul model made its debut in 1952.
The single cutaway sunburst finish Les Paul models made between
late 1958 through 1960 are superior in sound, playability and appearance,
and considered to be in the top rank of solid body electric guitars ever
made.
Even though this claim holds true in every collector’s and
enthusiast’s mind, the true value of their perfection was not fully
recognized when they were new. Consequently, they were discontinued in
1960 after less than three years of production.
Giving up on the marketability of the heavy, old fashioned single
cutaway Les Pauls, Gibson moved on to develop a totally new design of
solid body electric. The model was named SG, and this ended the first
chapter of the Les Paul model’s history.

Evolution of the
Single Cutaway Les Paul Model
As has been mentioned in previous paragraphs, the first version of the
Les Paul was a gold top.
Along with the top color, the bridge was also Les Paul’s idea. It would
go through several minor changes and eventually become the sunburst
which is the last version of single cutaway Les Paul in the latter part of
1958. In this section, let us follow the steps of the evolution.
1. ’52 version
Gold top with trapeze style tailpiece/bridge. P-90 pickups. Because of
the way the bridge is set up, the neck set angle is extremely shallow.
Control knobs are speed knobs, the earlier example being extra tall.
2. ’54 version
In fact, this change took place in mid ’53. The trapeze bridge was
replaced with a bar type combination bridge/tailpiece.
Since it was designed by Ted McCarty. it was referred to as the
“McCarty bridge” in the factory. Following the bridge change, the neck
angle was changed as well.
3. ’56 version
Although the actual change occurred in 1955. the specifications
settled in 1956. The McCarty bridge wits replaced by the micro tunable
Tune-O-Matic (ABR-1) bridge. The McCarty bridge was moved further
back towards the end of the body, functioning as a tailpiece.
4. ’57 version
Large double coil humbucking pickups with metal covers replace P-
90s.
5. ’58 version
Sunburst finish replaces gold as the top finish. With the exposure of
the wood, the top becomes a center glued 2 piece. Cherry-red replaces the
natural finish on the back, and the neck becomes cherry-red also.

Change over to Sunburst Finish

As mentioned above, the drastic change of Les Paul’s top color from
gold to sunburst took place in 1958. At the same time, the structure of the
top was also changed from a random width 3 piece to a center glued 2
piece.
Although we can surmise more than a few reasons for this change, I
deduce that the main reason for it was competition.
1958 was the year that Fender also came out with a 3 tone sunburst
finish on models such as the Stratocaster and the Jazzmaster. Previously,
the only sunburst finish they had was a 2 tone sunburst. I suspect that
Fender was slightly ahead because the earliest example of the 3 tone
Stratocaster known to exist has an April 1958 date. The prototype Cherry
Sunburst Les Paul made its debut at the July trade show in 1958. Always
on the cutting edge of new ideas, Fender probably made a decision prior
to the show, whereas Gibson was still testing the waters at the show.
The idea of having a carved top on the Les Paul model demonstrated
Gibson’s intention to set themselves apart from their competitors.
Likewise, the introduction of the figured top was to further enhance the
superiority of Gibson.

Other Specification Changes

Between 1958 and 1960
From its introduction in late ’58 to its discontinuation in 1960, the
specifications of the Sunburst Les Pauls, other than the top color and
hardware, also evolved. In this section, we will follow the sequence of
this evolution. The neck specifications are especially important, since
they significantly affect the instrument’s playability. For those who are
interested in observing the exact measurements of examples, they are
shown on page 220.
’58
The neck grip is thick and round, unchanged from the previous gold
top. In most cases the size of the heel is large. The size of the frets are
small, also inherited from the ’58 gold top. The color of pickup bobbins
are black. The fading of the top is usually medium.
’59
The neck receives a thinner profile (refer to the drawing). With a few
exceptions, the size of the heel also becomes smaller. In mid ’59 the frets
were changed to a larger size, although some examples with small frets
do exist after serial number 9 0600. Most of the P.A.F.s have either a
zebra or a double white color combination. The variation in fading is
wide, although most of the ’59s show more than a medium fade.
’60
Early ’60 can be categorized as an extension of ’59. In mid ’60, the
neck receives an even thinner profile. This thinnest neck grip is widely
known as the ’60 grip. Almost coinciding with the neck change, the top
color was changed to what the collectors call the “Tangerine red”
sunburst. This new red tint, which has an orange hue, was utilized to
resolve the fading problem that the ’59 red tint had. A few examples from
late 1960 have been observed with a thick neck profile, almost like that of
a ’58.

Bigsby Equipped
Sunburst Les Pauls
The quantity is not large, but original Les Pauls with factory equipped
Bigsbys do exist. There were other Bigsby equipped models, but it was
more than natural for the Les Pauls to have Bigsbys since the tone of the
solid body electric resembled that of the steel guitar.
For the Les Paul model, the Bigsby model B-7 with the tension roller
was a standard choice for a factory option.

There are two versions of the Bigsby vibrato equipped Les Pauls.
1. The ones without any tailpiece stud holes.
2. The ones with plugged tailpiece stud holes.
 The holes are usually hidden by 1/2″ diameter mother of pearl dots. If
the guitar was destined to have a Bigsby tailpiece early enough in
production, it is logical that the guitar did not get the stud holes drilled.
This would be case #1. Whereas if the order came in after the production
started, or even after the guitar is completed, the only option was #2. A
special option such as a Bigsby vibrato cannot easily fit into a production
schedule. It is my opinion that some of the Bigsbys were installed by the
factory at the customer’s request after the purchase of the guitar. This
would also fall under category #2.

Serial Numbers
The serial numbers of Gibson guitars from the ’50s, including the Les
Paul model, consist of 6 digits. The first digit indicates the last digit of
the year. The second digit is usually a blank space followed by 4 digits.
Since this numbering system was shared among different models of the
same era, the 4 digits do not exactly represent the quantity of the Les
Pauls made in a particular year. From interviews with employees
involved in production, I am of the belief that guitars were produced in
lots of 35 guitars.
In this type of situation, more than a few lots can proceed parallel to
each other, with one of the lots advancing faster or falling behind. For
this reason, the shipping date may not follow exactly the order in which
they are started or numbered. The serial number is stamped when the
woodwork is finished. A guitar could receive a serial number at the end
of the year, but since it needed to be finished, cured, buffed and
assembled, it might not be completed until the following year. It is
believed that the total quantity of the original (non Custom) Les Paul
models produced in 1958, 1959 and 1960 is about 1,700.
Since the majority produced in 1958 were “57 style gold tops, I
estimate the total quantity of Sunburst Les Pauls produced to be around
1,200.

Truss Rod Cover Location

 Including the gold tops of the early to mid ’50s, the lower edge of the
truss rod cover was always 1/16 to 1/8 inch away from the nut.
From the 1968 reissue on, it was placed so that it almost touches the
nut. The reason is unknown, but since it covers the cavity for the truss rod
nut. I feel that the change of the headstock/neck angle influenced the
placement.

Logo Location
The “Gibson” logo at the top of the headstock was moved up at the
same time the major finish change occurred. The existence of a Sunburst
Les Paul with the lower logo so far has not been confirmed. Insofar as
production procedures are concerned, there is no relation between the
two. So the reason for the relocation of the logo is unknown.

Black Stinger at the Back of Headstock

This unique feature sometimes appeared on vintage Gibson solid body
electrics as exceptional one offs. Called a “stinger” by the factory, it was
to hide minor cosmetic wood imperfections in that area. In the process of
guitar production, sometimes the imperfections in the wood come out as
the machine exposes a new surface. The imperfections on the body can be
detected and avoided rather easily because the part is relatively two-
dimensional. On the other hand, the neck, needs to go through many more
steps in the process. The shape is much more three-dimensional. By the
end of the procedure, compared to a raw lumber state, a lot of new
surface is exposed. When a minor imperfection is revealed with the final
cut, you have too much effort in it to just throw it away. Gibson did not
allow any imperfections in the middle of the neck, but was able to save
otherwise good pieces of work by extending the black colored part from
the front of the headstock to the back.
Left:1956 gold top.Right:1958 Sunburst.
THE STRUCTURE OF THE ’BURST

The extension of the neck (tenon) can be seen in the pickup

cavity.
The single cutaway carved top Les Paul model was Gibson’s first
attempt for solid body guitar. With the R& D team’s intense effort, when
it came out in 1952, the completed design had such a high degree of
perfection that only a few minor changes were left to be made in later
years. The first minor change took place in 1953 when the bridge design
was changed from the trapeze style to the stop bar style. The change of
bridge led to the change of the neck angle to the body, as these two
bridges were quite different dimensionally. In 1955, the neck angle was
again rearranged to accept the newer Tune-O-Matic design. The other
features from 1952 were kept almost intact and passed down to the later
versions until the debut of the Sunburst model with the 2 piece top.
As already explained, the only difference between the Gold top and
Sunburst Les Pauls was the number of pieces of wood glued together to
make the top. The majority of the Gold tops had 3 piece tops, with a few
exceptions with 2 or 4 pieces. Without exception, the width of each piece
was random. The glue seam never was on center. The 1958 Sunburst
version, on the other hand, always had 2 piece center jointed tops. In this
chapter, we will examine the characteristics of the structure of the
Sunburst Les Paul viewed as the last version of the single cutaway carved
top Les Pauls.
THE CHARACTERISTICS OF THE ORIGINAL LES PAUL
1. Deep joint
On the original 1952 Les Paul design, the style of the joinery that
joins the neck to the body was called “‘Deep joint” or “Long Tenon.” The
joint is known to be one of the strongest of its kind for two reasons: 1) the
large mating surface to be joined, and 2) the positioning of the
fingerboard. The large mating surface is made possible by the tenon’s
length at the end of the neck extending well into the front pickup cavity.
The large gluing surface naturally means greater strength. Likewise, the
part of the fingerboard that covers the joint area is glued on in such a way
that it locks (stabilizes and reinforces) the neck/ body joint (figure 1).
These are the reasons why it is extremely rare to see Les Paul’s neck joint
fail. This structure can be observed by taking the front pickup out (picture
1).
2. Tapering headstock
Up until 1960s, the headstock of most Gibson guitars had one distinct
characteristic. The thickness of the headstock tapered thinner towards the
end. Les Pauls of this era were, of course, no exception to this rule. As a
matter of fact, the area where the 1st and 6th tuners are located is about
.050″ (3/64″) thicker than the top end of the headstock (picture 3).
The purpose of this design was to create structural strength around the
head/neck transition area, helping to prevent headstock breakage.
However, as a by-product, the following merit was derived. Since the
headstock is thicker where the 1st and 6th tuners are located, the portion
of the tuners’ string post protruding from the surface is shorter than the
portion at the tip of the head-stock. In other words, the 1st and 6th
string’s tuners are moved back from the surface by the extra thickness of
the wood. So, when compared to the headstock with uniform thickness
from the late ’60s and on, these “staggered tuners” give the strings higher
tension on the tuners near the nut. Also, as the neck’s vibration character
is a major contributing factor to the tone, the rigidity gained from the
extra thickness of the wood can be considered to make a tonal difference.
3. Grain orientation of the wood
Another significant character of the original Les Paul neck is the
grain orientation. Looking at the cross section of the neck vertically, the
neck has quarter sawn grain. This assures dimensional stability as well as
added rigidity (refer to the Voice of the ’Burst chapter). Looking at the
side of the neck, the angle of the grain is slightly slanted (figure 2). This
way the length of the grain coming from the neck and running out toward
the head is lengthened. This longer grain “run out” was meant to gain
more strength around the neck/headstock transition area, preventing the
breakage.
4. Control cavity
To properly fit the angle of each control knob to the curvature of the
top, the bottom of the control cavity needed to be cut somewhat
conforming to the surface of the top. In actuality, the bottom of the cavity
is first cut flat, then two more angled routings are done to adjust the
corresponding potentiometers’ angle to the body surface (picture 4).
5. Body top binding inside the cutaway
The cream colored binding on the body’s top edge covers the
lamination line of the mahogany back and maple top. The exception
occurs inside the cutaway where the binding is bent to follow the top
edge. As a result, an elongated crescent shaped maple piece is exposed in
this area (picture 5). This applies only to the guitars made between 1952
through 1960. On later versions, such as ’68 reissues, thick binding
covers the lamination.
The neck joint viewed from the side.
The side view shows that the headstock is thinner at the top

6. Shape of the heel

The shape and the size of the heel of the neck changed as the
thickness of the neck changed from 1958 to 1960 (pictures 6, 7). With a
few exceptions, the majority of the thicker necks from 1958 had larger
heels. The heel became smaller as the year progressed. This seems to be
caused by the depth of the cut of the shaper(the machine used to shape the
neck).
7. Wiring channel
 All 1952-1960 Les Pauls except Customs had a square channel/hole
between the control cavity and the toggle switch cavity for wiring (a long
drill was used for the Customs due to their one piece body construction).
This unique square hole was created by routing a channel on the
mahogany part of the body before the lamination of the maple top. When
the maple top was glued on, the opening on top of the cavity was closed,
thus producing the square hole. This surely is a clever way to produce an
otherwise troublesome long channel/hole. This way, one can accurately
produce it by taking advantage of the unique structure of the Les Paul.
8. Contour of the top
The thickest part of the top is around the bridge and it measures 1/2″
(pictures 8, 9). Unlike the measurement of other areas, this measurement
is extremely consistent among many different examples. This
measurement is so important as it influences the neck angle/bridge
height. In this sense, the consistency signifies the accuracy of production,
and it is the foundation of this high-quality product.
The mahogany for the back measures 1 3/4″. So, together with the
maple top, the body’s total thickness is 2 1/4″. Since the binding covers
the lamination line at the edge of the top, the thickness of the maple at
the body edge cannot be directly measured. However, it can be obtained
by subtracting the mahogany’s thickness from the total thickness at the
edge of the body (refer to the figures of the ’Burst chapter). An average
thickness of .142″ (9/64″) is obtained from that calculation.
If the thickest part of the maple is 1/2″ and the thinnest is 9/64″, the
difference is 23/64″. This “drop of the dish” is slightly less than 3/8″.
However, to our eyes, the dish seems to be much deeper. The reason for
this optical illusion lies in the way the top is carved. There are two
factors for making this possible. One of the factors is the way the center
of the top is shaped. Upon close examination, the center of the top where
the pickups, bridge and tailpiece are is surprisingly flat. This can be
proved by the fact that the bottom of the pickup mounting ring is not pre-
curved. This flat construction pushes the dished area closer to the edge of
the body. The closer the starting point of the dish is, the steeper the slope
of the dish. This makes the top look three dimensionally enhanced
(deeper). Interestingly enough, there is a similarity between this and the
way Stradivarius carved his violin tops. This three-dimensional effect is
further enhanced by the concave areas by the body edge. These scooped
surface areas are about an inch inside the body perimeter and are actually
1/32″ lower than the body edge. This again is a surprisingly small figure.
The top really looks “scooped out” much deeper in these areas.
Combining this with the “flat center” method, Gibson’s craftsmen really
knew how to maximize the visual effect on a given dimensional
requirement.
The factory implemented this contouring process by first rough-
shaping the top with the carving machine that had capability to copy the
prepared three-dimensional mold pattern. Then the washboard-like rough
machine cutting marks were smoothed out by a machine called the stroke
sander. This sander operated in such a way that the operator was able to
sand out the complicated three-dimensional contour by pushing the
cushioned pad against the sanding belt running very close above the
guitar’s top. The sanding was solely done by hand, relying on the
operator’s skill. The slightest movement of his or her hand could
influence the expression of the top. It was almost like shaping a
sculpture. This is why each top of a Les Paul is different and has its own
character.

Inside the control cavity. The bottom of th cavity shows the back of the
maple top
Inside the cutaway, the maple is exposed between the binding and the
mahogany.

A typical ’58 style large heel.

A “59 style smaller heel

The body viewed from the end. Note the contour of the top.

A side view of the body.

THE VOICE OF THE ’BURST
— SUNBURST LES PAUL — THE WORLD OF VINTAGE TONE

As it has been claimed by players and enthusiasts for decades, the

Sunburst Les Paul has its own dimension of tone. It whispers softly,
weeps gently, but it can roar angrily the next second. The Sunburst Les
Paul’s pinnacle of fame cannot be measured without its responsiveness to
the player’s emotion.
The “Sunburst” tone can be described as having two major
components. The first point, the “double tone,” which is the term used by
collectors and the like, means that the notes carry very distinctive upper
range sub-harmonics and each note sounds as if it is double layered. The
second point is its sustain. In general, the sustain and the tone are treated
separately as irrelevant matters. The truth is that they are so closely
related that they are not separable.
The Sunburst Les Paul is often respectfully called the Stradivarius of
electric guitars. The tone, so superior to others, is not created by the
pickups alone, but rather, it is created by the whole structure of the guitar
with its components influencing each other.
In this chapter, we will unravel complexly tangled factors to discover
the structure of tone that changed music.

THE TONE STRUCTURE OF THE SOLID BODY

GUITAR

On acoustic guitars, the string’s vibration causes the top of the guitar
to vibrate. The vibration of the top then moves the air which, in turn,
makes the sound heard by our ears.
 Because of this means of sound production, the top of the acoustic
guitar, with its physical arrangement of material, thickness, etc. has a
vital role in determining the output and the sound character of a given
guitar.
On the contrary, solid body guitars do not have this vibrating
diaphragm.
In this case, the virbation of the strings becomes the sound, although
it cannot be heard as it lacks enough energy to move enough air. This
silent sound, when electrified and amplified, will then become the voice
of the electric guitar.
In this chapter we will study the structure of the voice of the solid
body electric guitar by separating it into two different parts. The first
consists of the silent sound (the character of the guitar’s vibration
system: neck/body/ strings) that appears as the string vibration pattern.
We refer to this as the primary tone. The sound character after the
pickup’s involvement is likewise defined as the secondary tone.
Although the guitar’s output signal may be affected as it passes
through pickups, amps and speakers, they cannot interfere or add
overtones if certain frequency bandwidths are missing from the primary
tone. In other words, what the guitar does not produce cannot be
supplemented electrically.

THE FORMATION OF PRIMARY TONE

ON LES PAUL GUITARS.

THE NECK

1. The Neck as a Tone Filter

We must study the neck and body as separate units since they are very
different in how they react to string vibration.
The vibration character of the neck is determined by its physical
structure and material (mass and rigidity/ flexibility). Mahogany was the
standard material for Les Paul necks except in the ’70s. However, the
thickness and its shape went through modifications in the three years of
Sunburst Les Paul production. Also at that time, the fingerboard material
was Brazilian rosewood, which is harder and denser than the current
industry standard, Indian rosewood. As to the physical structure, the neck
can be described as a cantilever. In physics, the term refers to such a
structure with a beam supported on only one end.
One end of the strings is anchored to the tip of this cantilever. In a
long and thin structure such as a guitar neck, the cantilever is particularly
sensitive to the force applied at the tip. In that sense, the neck plays an
important role as a tone filter (drawing 3). What is interesting here is that
the strings are anchored to the neck, which is being moved by the strings’
own energy. As the neck moves, the strings are also moved by its own
energy. In other words, the energy transferred to the neck is fed back to
the strings. However, the characteristics of neck vibration are different
from that of the strings. This is because the mass, rigidity, and flexibility
are different between the two. The frequency structure is different and
they are out of phase.
The vibration fed back to the neck will then collide with the original
energy source, the string vibration. When this happens, the slight lapse of
phase creates a new pattern of vibration. Some frequency bands are
enhanced while others are weakened, and new tone is formed.
As long as a note sustains, this feedback loop of string and neck
vibration continues, making the tone rich and complex. In this sense, the
neck plays an important role as a tone filter.
Since the neck is a tone filter, what becomes important is its
“rigidity.” Rigidity is the tendency to resist deformation. In this case, the
neck with high rigidity is harder to bend; in other words, it is stiff. When
the neck is stiff, it is less likely to be affected by the string vibration. The
neck vibrates less, resulting in less interference between the string and
neck vibration. As a consequence, the stiffer neck retains more high
frequencies. When a string vibrates, lower frequencies have greater
energy than the higher frequencies. The higher frequencies tend to get
cancelled when the string and neck vibration interfere with one another.
A neck with higher rigidity, with its lower degree of vibration
interference, has the tendency to retain high frequencies.
 2. The Rigidity of Les Paul Necks
On the Les Paul models, the neck joins the body at the 16th fret.
Compared to the ES-335 model of the same era or the SG models from
the later days, the rigidity of the neck is greater because the part of the
neck protruding from the body is much shorter. This fact is reflected in
the tone characteristics and sustain.
THE RIGIDITY OF VINTAGE LES PAUL NECKS
On vintage Les Paul necks, the rigidity (which is an important factor
in determining the tone), is especially great for the following reasons.
1. Grain orientation
The necks are made from quarter sawn lumber. With this
arrangement, the neck is stiffer along the direction of the string tension
(drawing 4).
2. Neck/headstock structure
As mentioned in the “Structure” chapter, the thickness of the
headstock where it joins the neck is greater on the ’50s Les Pauls. This,
combined with the reinforcement achieved by slanting the grain (also
mentioned in “Structure”), brings considerable rigidity to the structure.
The influence on the tone cannot be ignored.
3. Fingerboard material
The Brazilian rosewood was the material used on all the ’50s Les
Pauls except the Customs. The fingerboard, as it is glued to the neck,
affects the overall rigidity of the neck. Since the hardness of this wood is
in between Indian rosewood and ebony, the rigidity is higher than that of
the guitars built in later years.
In conclusion, the neck of the Les Paul model was originally designed
to have higher rigidity. The material and construction contributed to this.
In the following paragraphs, we will further study other influences of this
structure.

3. The Influence of Age

Structurally observed, among the components of the guitar, the neck
is where most of the aging effect can be seen. The influence on the tone is
quite significant.
The string tension gradually deforms the neck over time. There are
two different patterns of deformation. One is the ordinary bow and the
other is “neck rise”. The latter is a special type of deformation.
THE MECHANISM OF NECK BOW
The term “Neck bow” is used to describe how a neck is bent like a
“bow” under string tension. Generally, it occurs in the central area of the
neck, excluding the headstock and heel.
The neck, being made of wood, initially resists the string tension with
its own rigidity. It tries not to warp or bend. However, if prolonged
tension is applied, the neck gradually gives and bends. Wood has a
tendency to “memorize” its shape when left in such a state long enough.
This is caused by the cell walls of the wood stretching and compressing.
When this condition exists for a long period of time, the wood loses its
elasticity (losing water and other chemicals by evaporation), solidifies,
and settles into its new shape. So again, a wooden neck is an ideal
example of this condition.
 The neck, if left bowed for a long time, remains bowed even if the
string tension is relaxed. It has become solidified, and in this state, the
neck has aged.
The truss rod is another component that influences the rigidity of the
neck. The truss rod is a steel rod that runs through the inside of the neck.
One end is anchored and the other end is pulled by means of a nut and
thread combination. This is to apply counter tension to the strings and is
achieved by tightening the nut.
The truss rod is installed in the neck with a slight bend. The bend is
there so that as the nut is tightened, shortening the rod length, the neck is
forced in an upward thrust, and it counters the pull exerted by the strings.
On vintage guitars, an extra force is required to readjust an aged bow
because the truss rod is working against a force that consists of the string
tension and the internal stress of the neck.
When we observe the neck in this way, it can be described as having
equal stress from both sides. It cannot move in any way; in other words, it
is solidified.
The guitars produced and shipped during the ’50s surely have had
numerous neck adjustments over 40 years. As the truss rod was adjusted,
the neck’s rigidity continued to increase. Of course it cannot be seen with
the human eye, but all vintage guitars share this condition.
THE MECHANISM OF “NECK RISE”
Neck rise is the phenomenon caused by the string tension. It occurs at
the transition area of the neck to the heel and appears as if the neck has
risen, pivoting at the neck joint. This needs to be separated from the
ordinary ‘bow,’ as it occurs in a limited area and is not adjustable by the
truss rod.
Although it may appear to be a part of the neck, the fingerboard from
the 16th fret to the end is actually glued to the body, so it is not a part of
the neck. The heel of the neck is considerably thick so it does not bend or
bow. The rest of the neck’s thickness does not change much from the heel
to the nut except that it is slightly tapered. The question then becomes
why does the neck bend at this particular point rather than somewhere
else?
The reason is that the structural strength of the neck suddenly changes
at this point. It is a phenomenon called the concentration of stress. The
stress, or in other words, the energy of deformation, concentrates where
the change of rigidity of a given structure is the greatest. The neck rise is
caused by this very phenomenon.
Then, how does this “neck rise” influence the tone of a guitar? First, it
could be said that the rigidity is increased in the same manner as a
regular bow. This section of the neck is bent and solidified under string
tension. This, of course, is influential to the tone.
CHANGE OF THE NECK ANGLE
 There is another important angle of view concerning the “neck rise”
other than the change of rigidity. When the neck “rises” from the body,
the neck angle becomes shallower to the body (figure 8). If we keep the
same string action, this change causes the strings to meet the bridge at a
lower point. Consequently the height of the bridge becomes lower.
On the other hand, the change of neck angle does not affect the
tailpiece, so the height of the tailpiece stays the same. The shallower
angle that the strings follow at the bridge, as well as the shortened length
of the strings between the bridge and tailpiece, both contribute to
decrease in string tension.
What would we get when the string’s tension decreases? Two factors
can be extracted here. First is the change in harmonic structure. The
tension of the strings has a more significant effect on the upper harmonic
structure, which has a lower level of energy. Higher frequencies that may
otherwise be suppressed by the tension of the tight strings may be freed
up when the tension is relaxed. Even on low notes, high and ultra high
harmonics are inherent, and they are the key to the presence of the note.
So this factor is quite important.
The second factor is increased sustain. A certain amount of tension is
needed to hold a vibration, but when it is too strong it prohibits the
strings from vibrating. When the tension is decreased the strings have
more freedom to vibrate.

The String Vibration and the Harmonic Structure

As we try to define the meaning of “tone,” we must not forget about
the length of time involved. We need to recognize “tone” as a word to
describe a set of harmonic structures that changes from the creation of a
note to the end of its life. Tone is the whole sequence experienced by the
human ear, whether it is a split second or several seconds in duration.
From the initial “attack,” followed by the release and ending the
decay caused by the energy consumption, the harmonic structure of a
given note keeps changing. However, this phenomenon does not affect all
harmonics uniformly. The interference between the body/neck vibration
and the string’s vibration affects the harmonic structure continuously. In
other words, on a time axis, different harmonics are born or fade away at
different times. What the human ear senses is an aggregate of a harmonic
structure on the time axis that is divided in infinitely small segments and
lined up in sequence. If we refer to each of these small segments as
“static tones,” the aggregate should be called “dynamic tone.” In regular
application the word “tone” applies to the latter, and it is the guitar as a
structure (neck/body) that controls the tone through string vibration.

How the String Vibration Is Recognized as Sound

The sound of an electric guitar takes the following sequence before it
can be sensed by the human ear.
A note is plucked and the string vibrates.
The pickup senses the string vibration as an interference in the
electromagnetic field. Consequently electricity is induced.
The string vibration is converted to an alternating current signal.
The signal produced in #3 is sent to the amplifier via a cable.
The signal is amplified by the amplifier.
Result of #5 is fed to the speaker and the cone of the speaker moves the
air.
The vibration of the air is sensed by the ears and recognized as sound.
 Influence of Heavy Guage Strings
When we consider the deformation of the neck, the gauge of the
strings is important as an influencing factor. When the Sunburst Les Paul
model was introduced, the regular setup was with the heavy, flat wound
strings. Heavy gauge strings from those days had considerably higher
string tension. Light gauge strings were introduced in the mid ’60s, so the
early Sunburst Les Pauls made prior to the mid ’60s were equipped and
played with the higher tension of the heavy guage strings. As a result, it
can be stated that the Sunburst Les Paul necks solidified faster than that
of the guitars made after late ’60s.

THE BODY

1. The Structure of the Les Paul Body and Its Rigidity

Compared to the neck, the body’s rigidity is significantly greater, thus
it is harder to vibrate. In other words, the amount of feedback between the
body and the strings is less. The rigidity of the Les Paul is remarkably
high, so the level of vibration interference is correspondingly low. We
will study its structure to verify this in the following paragraphs.
The Les Paul model has had the laminated maple/ mahogany structure
from the very beginning of its development. Maple was brought in to gain
the required sustain, and the mahogany was chosen as a backing material
to adjust the total weight. According to the personnel who participated in
the project, the ratio of the thickness between these two materials was
determined by the length of sustain of plucked notes.
What this structure shows us is an ideal balance of the volume, mass,
and rigidity. As explained in the “Structure” chapter, the maple part is
carved with its center thicker and the surrounding area thinner. Although
the shape is an obvious result of being a carved top guitar, the thicker part
of the hard maple is effectively laid out where the strength is required
most: between the neck and the tailpiece. This allows the body to gain
rigidity with minimum weight increase. Although not intended when the
guitar was designed, the lamination of the different materials is also a
contributing factor to the higher rigidity.
LAMINATE CONSTRUCTION AND THE INTERNAL STRESS
When two different woods are laminated (glued)together, the whole
becomes dimensionally more stable. This is due to the fact that the
direction as well as the level of deformation with age (warpage) of two
materials tend to counteract one another (figure 9). Energy created by
wood cell shrinkage/distortion gets trapped in the laminated body and can
go nowhere. This invisible power is called internal stress. When this
trapped energy is high, the body is “hard” and its rigidity is high. When
two woods are laminated, there is a tendency for this internal stress to
increase with age. Applying this to a Les Paul body, the rigidity increases
as it ages.
INTERNAL STRESS AND FIGURE
The internal stress explained above may be applied to figured maple.
Figure is an interlocking grain that has stress within itself (figure 10).
When the maple is not laminated and thin, the board merely warps to
release this stress. However, on the Les Paul, where the board is thick and
laminated to a different material, a considerable amount of internal stress
is sealed in the structure. The rigidity against the mass is increased here
again. In fact, this is the very reason that fiddleback maple has been used
for the back of the violin for centuries. The figured maple top of a Les
Paul not only contributes to its appearance, but also to its tone.

The body of a Sunburst Les Paul with some of the parts removed to show
its construction.The end of the neck extends to front pickup cavity.Note
wire channel running diagonaly in the cavities.
 2. Maple Top as Inertia Block
Inertia is a tendency of an object to stay still or stay in uniform
motion. We know that when something is still it takes energy to move it.
This further leads to the fact that a heavy object does not move easily. In
guitar application, this theory can be seen on guitars such as the Fender
Stratocaster and Alembic guitars and basses. In both applications, a metal
block is placed underneath the bridge to gain sustain.
In an ordinary situation, string vibration is transmitted to the body
and the energy is consumed to make the body vibrate. When the body
vibrates, the vibration disturbs the string’s vibration. Although the body
gets energy from the strings vibration, the body does not share all the
vibrating characters with the strings. In other words, the strings’ and
body’s vibration differ in level and phase, so consequently part of the
vibration gets cancelled. It is lost energy and the strings stop vibrating
sooner. This cancellation effect can be lessened by cutting the loop of
vibration feedback with a heavy piece of metal directly beneath the
bridge. The inertia created by its mass makes the body less sensitive to
the string vibration. The bridge, staying still due to inertia, is hardly
influenced by the string vibration. The body disturbs the string vibration
less because the body does not receive the string’s energy. In other words,
the feedback of string vibration is less.
According to this theory, inertia block gains the sustain by controlling
the amount of string vibration energy transmitted to the body. In the case
of the Les Paul, the dense maple top plays the role of an inertia block.

The Importance of the Primary Tone

The primary tone, which was born as a “raw” body/ neck/string
vibration, will then be transformed to an alternating current signal by the
generator: the pickup. The pickup, as it generates the signal, affects the
signal as a tone filter since its structure contains resistance, capacitance
and inductance. Then that signal is sent through the output jack to the
amplifier. Both the pickup and amplifier can have an influence over the
balance of the original fundamental and harmonics created by the
body/neck/strings structure, and that is why we needed to divide the tone
into two categories. Again, what is important here is that the frequency
that does not exist in a primary tone cannot be produced later. When it
doesn’t exist, no matter how one tries, it cannot be amplified. Zero times
10,000 is still zero. As explained in the beginning of this chapter, what
the body and neck does not have, cannot come out as tone.
The side view of the body. Although the lamination is concealed by the
binding, it is known that the thickness of maple at the body edge is about
5/64”. The thickest part of maple measures 1/2”.
THE SECONDARY TONE PRODUCED BY THE PICKUP

THE RELATIONSHIP BETWEEN THE TONE AND THE

STRUCTURE OF THE HUMBUCKING PICKUP

The Characteristic of the Humbucker Structure

As already mentioned, the string vibration is influenced by the
guitar’s own vibration characteristics. Then this vibration is sensed and
picked up by the pickup. The electromagnetic pickup acts as a generator
producing alternating current (signal), which is the subject of this
paragraph, “the secondary tone.”
Sunburst Les Pauls have a transducer with a very unique character,
where the vibration energy is converted to the signal. This of course is the
“Patent Applied For” pickup. From a structural point of view,
electromagnetic pickups in general are not only transducers, but they also
can be defined as tone filters composed of a resistor, a capacitor and an
inductor. On “Patent Applied For” pickups, the individuality and
influence of aging makes the relationship of those three factors very
complicated.
Before we go into the analysis of vintage “Patent Applied For”
pickups, let us examine the structural characteristics of regular
humbucker and the process of how the tone is produced in such a pickup.
With regard to sound, double coil humbuckers are said to have more a
mid-rangy, sweeter or softer tone when compared to that of single coil
pickups. This tone characteristic is mainly produced from the following
structural factors.
1. The metal cover that surrounds the pickup.
2. The layout of the two coils.
The humbucker was first designed to have a metal cover to help
shield against external noise. This cover is made out of pressed sheet
metal and it surrounds the whole structure in the shape of a box. It is
connected to the outer shielding of the pickup lead wire via the base
plate, which also acts as a shield. This way, the external noise can be
trapped by the cover and routed to the ground. This method is highly
effective, but there is one drawback: stray capacitance appears between
the cover and the coil.
THE RELATIONSHIP BETWEEN THE COVER AND STRAY
CAPACITANCE
When two conductors are laid out at a certain distance apart in a
circuit, the capacitance appears. The amount or the level of capacitance is
determined by the distance and size of two conductors and the substance
between them (such as air, oil or mylar). When the alternating current is
applied to this circuit, the capacitance influences the frequency of the
signal which passes through the circuit. The greater the capacitance, the
lower the frequency; the smaller, the higher. In fact, the tone control
circuit in electric guitars is one application of this theory.
On the structure of the humbucker, although unintended, the cover
and the coils are laid out in such a way as to create a capacitor (figure
12). The resulting unintentional capacitance is called “stray capacitance.”
and it is extremely small in value. In this situation, if the above theory is
applied, certain upper frequencies of the signal produced by the string
movement may leak from the coil to the cover and eventually go to the
ground. The cover is acting as a tone filter, making the sound less bright.
In other words, part of the sweetness of the humbucker’s tone comes
from here.
If we were to reverse this effect, removal of the cover may make the
sound sharper. This is because the leak is stopped. All the high
frequencies which were otherwise thrown out would come back to life.
This method of getting “more tone” out of humbuckers was first used in
the mid ’60s by blues/rock guitarists. Although the level of noise
reduction is decreased, the double coil construction still guarantees a
certain level of hum cancellation. So while maintaining low noise
operation, players were able to gain more clarity by removing the cover.
THE LAYOUT OF THE COIL AND RELATED PHASE
INTERFERENCE
Another major factor in determining the tone character of the
humbucking pickup is the layout of the two coils.
As explained in the “Patent Applied For” pickup chapter, a double
coil construction’s merit is cancellation of the noise signal by connecting
two coils in series. In order not to cancel the signals produced by the
string vibration, one of the coils’ polarity is reversed to put the phase
back to normal.
In theory, two coils are supposed to pick up the noise signal at exactly
the same spot. However, physically this side-by-side layout does not
allow it. The only possibility is to position them side-by-side as close as
possible.
At this point, no significant disadvantage is found as far as the hum
cancelling is concerned. However, the difference between theory and
reality comes into the picture when the performance of the pickup is
examined.
At this point, let us confirm the relationship between the string
vibration and the sound produced from it. A note is composed of the
fundamental and the overtone (upper harmonics) (figure 14). The
combination and the level of each of the upper harmonics, together with
their decaying pattern, determine the tone. This could be described as the
color of the note. From this color we distinguish the source of the note.
On the strings, this fundamental and its upper harmonics should co-exist.
The most important factor here is that the upper harmonics create nodes
on various spots on the strings. The relationship between the layout of
two coils and this node is the key factor for the sound character of
humbucking pickups.
The distance between nodes is greater on lower frequency notes. In
this case, the two coils have a better likelihood of picking up the signal in
phase. On the other hand, a higher frequency note may have its node
between the coils (figure 15). When this occurs, one of the coils picks up
an “out of phase” signal. The signal from each coil works against each
other, weakening the output. When the node falls right in between the
coils, that harmonic is cancelled totally. In conclusion, in double coil
construction, the higher frequencies have a tendency to become
weakened, which is a direct cause of the sweetness of the humbucker’s
tone.
However, as explained here, too strong a magnet will disturb string
vibration. If this is true, and we look at this differently, doesn’t it mean
that the aged weaker magnet disturbs the string vibration to a lesser
degree? With less disturbance pull from the magnet, the strings are
allowed to vibrate more naturally.
2. Bobbin shrinkage and distortion
The second factor of the aging is the shrinkage and distortion of the
coil bobbin.
The kind of plastic used for “Patent Applied For” models, as most
other plastics, has a tendency to shrink over time. It is caused by some of
the ingredients such as the plasticizer escaping from the plastic by slow
evaporation. Originally, the cover was to seal in the coils, but when it is
removed this evaporation is accelerated. As the bobbin shrinks, the
tension of the magnet wire wrapped around the coil decreases as it loses
its support.
Old bobbins also experience distortion caused by wire tension. When
the wire is wound onto the bobbin, it has a certain amount of tension. On
one turn this tension does not count for much, but after winding in excess
of 5,000 turns, the amount of tension that is built up is significant and
tends to distort the bobbin. The spot where this effect is best observed is
at the brim of the bobbin on both ends, where the wire’s tension
concentrates. This is a difficult spot to retain structural strength, as the
tension of the wire tries to push out this brim from inside. Again, this
distortion may be sped up by the removal of the cover. When this kind of
pressure is applied over a period of time, the change in the shape
becomes irreversible (figure 16). The distortion stops where the tension
of the wire and the rigidity/strength of the bobbin structure balances. As a
result, again the tension of the wire is decreased by the loss of its support.
As we have observed here, the wire tension of a 40 year old “Patent
Applied For” pickup is considerably decreased by the dimensional
changes (distortion) that have occurred to the bobbin by two different
causes.
There is a close relationship between the tension of the wire and the
tone. The fine wire used to wrap the pickup bobbin is called a magnet
wire. For example, the “Patent Applied For” utilizes AWG# 42 gauge
copper wire, which is thinner than human hair. The insulation is a baked
enamel. The copper wire is soft enough to stretch when wound onto the
bobbin. We already learned that when the wire is stretched, the increased
resistance makes it harder for the higher frequencies to pass through it.
On the old “Patent Applied For,” the exact opposite occurs. The tension is
relaxed and the wire has regained some of its lost thickness. Thus, the
decreased tension contributes to the increased high harmonic content of
the tone.
3. The relationship between wire tension and stray capacitance
As previously mentioned, each coil has an excess of 5,000 turns of
magnet wire. Just as it exists between the cover and the coils, it is
believed that the stray capacitance exists between layers of wire. In
actuality, the coil is wound with one long wire without interruption so it
does not form a pure capacitor. (It is impossible to measure the
capacitance in this form.) If there is stray capacitance between the layers
of wire that are wrapped closely together, in theory the capacitance
decreases when the distance between the two conductors increases. How
do we apply this theory to “Patent Applied For” pickups? The decrease of
the wire tension directly affects the tightness of the coil. Originally the
wire in the coil had certain gaps between the layers. When the tension of
the wrap is decreased (loosened), the gap between the wire widens. If we
are to apply the theory above, the stray capacitance value must be smaller
on old loosened coils. If we are to suppose that the coil is a capacitor as
stated above, that virtual capacitor’s one leg goes to the hot terminal and
the other is grounded. Similar to what happened with the cover, certain
higher frequencies leak and disappear to the ground. On old “Patent
Applied For” pickups, with decreased capacitance in the coil, more high
frequencies are preserved.
A “Patent Applied For” pickup mounted on a Sunburst Les Paul
As studied here, the praised tone of the “Patent Applied For” pickup
is created with three factors working as one. They are the design,
production deviation and aging.
In these three, the latter two were not what the designer intended; it
happened from pure coincidence. In effect, the slightly muffled
humbucker tone that was the nature of original design is perfectly
compensated and reinforced by the added high frequencies. Decreased
wire tension and demagnetization both contribute to the brighter tone,
and the decrease of volume caused by demagnetization is compensated
for by the overwound coils.
In conclusion, the superiority of the “Patent Applied For” pickup is an
amalgam of outstanding design and a combination of all the tone
determining factors in an ideal arrangement during and after production.
Three different views of a “Patent Applied For” magnet.
SUNBURST LES PAUL PHRASEOLOGY

ABR-1
The part designation number for Gibson’s first fully adjustable bridge.
The number is cast on the bottom of the part itself. ABR stands for
“Adjustable Bridge.”

Aging
When a substance changes its tendencies over the passage of time, we
call it aging. In some cases this is deterioration, but in the world of
guitars, it often takes on the positive connotation of “maturing.” A guitar
can gain “taste” or “class” with time, and when it does, it is called a
vintage guitar.

Amberburst
This is used to describe a top color which resembles the color of amber.
Often the shading of the sunburst fades to a light brown, and clear lacquer
applied to protect the color layer changes its color to amber with age.

Bar Bridge
A combination tailpiece/bridge developed by Ted McCarty in the early
’50s. The design allowed the adjustment of the intonation and the string
action. It replaced the original trapeze tailpiece/bridge on Les Paul
models in 1953. When it was in use, it was referred to as the “McCarty
bridge” in the factory.

Beano Album
The official name of this album which came out in late ’60s, is “John
Mayall & the Bluesbreakers with Eric Clapton.” It is nicknamed this
because the album cover photo shows Eric Clapton reading a British
comic book entitled “Beano.”
Berlin, Maurice H.
As a President of CMI (Chicago Musical Instruments), he played a vital
role in recruiting Ted McCarty to Gibson.

Bigsby
A vibrato tailpiece unit developed by Paul Bigsby. It was one of the
factory options available from Gibson. More than a few Sunburst Les
Pauls incorporated this unit.

Bird’s Eye Maple

One of the figure patterns that appear in maple. It is called bird’s eye
because the size and the shape of the figure resembles the eyes of a bird.

Black Beauty
The name of the capacitor that was used in Sunburst Les Pauls and other
Gibson guitars of that era. It was manufactured by Sprague. This also
refers to the Les Paul Custom in black finish.

Blister Maple
A kind of figure that appears on maple. The size of the figure is between
bird’s eye and quilt.

Book-Match
When a board is sliced and opened to show a symmetrical pattern of grain
or figure, it is called a book-match. Many of the Sunburst Les Paul tops
had this feature.

Brockburst
One of the best known ’59 Les Pauls. It has strong red shading and
prominent figure on the top. The name came from the famous collector
who used to own this guitar, serial number 9 0913. It is also featured on
the cover of Tom Wheeler’s “American Guitar” book.

’Burst
The abbreviation of the word sunburst.
Cherry Sunburst
The bright red sunburst that replaced gold as the top color on the Les Paul
model in 1958.

Clear Layer
A protective coat of clear lacquer over the color layer.

CMI
The acronym for Chicago Musical Instruments. Headed by Maurice
Berlin, this Chicago based sales company played a vital role as Gibson’s
parent company from 1944 to 1974.

Color Match
The matching of the boards by color. Although the factory tried to book-
match as many tops as possible, sometimes it was not feasible because of
natural defects, such as mineral streaks or knots.

Curly Maple
In this book, it is the kind of maple with an inconsistent figure pattern. In
other cases it could just mean figure. The usage may differ from one
person to another.

Darkburst
A variation of the sunburst finish with darker shading. It was employed to
adjust minor color irregularities in the wood.

Deep Joint
Also known as a long tenon. It is a joint originally used on the Les Paul
model for setting the neck in the body. It is called a “deep joint,” as the
end of the neck penetrates deep into the body. It is one of the strongest
joints used in guitar construction.

Delaware Watergap, Meeting at

With a completed, working prototype. Ted McCarty visited Les Paul’s
cottage in Delaware Watergap, Pennsylvania. The endorsement contract
was so important for Gibson, as it was to guarantee the model’s
penetration into the market. The meeting went through the night. At the
end, it was agreed that Les Paul would never play brands other than
Gibson in public, and he was to receive a royalty for each Les Paul model
sold. The term of the contract was five years.

Double Ring
As opposed to the single ring, the tuning keys that have a double hump at
the base of the button are called double ring.

Double Tone
Used to describe the tone when the note has distinctive upper harmonics.
It sounds as if the note is double layered, hence the name.

Double Whites
This is a combination of two cream colored coils that appeared on the
“Patent Applied For” pickups in 1959 and 1960.

Fading
This is used to describe the phenomenon in which the colorants employed
to produce paint are affected by ultraviolet light and lose their strength.

Fiddleback Maple
A kind of figured maple with a consistent stripe-like figure running
across the grain. Traditionally, this kind of maple was used for the backs
of violins for its superior tonal quality, hence the name.

’59 Cherry
The red used in the Les Paul finish from 1958 to early 1960.

Figured Maple
A kind of maple with a cross grain that appears as three-dimensional.

Flame
This is used when the figure is exceptionally three-dimensional and
moves with the slightest change in the angle of view.

Flat Sawn
Used to describe how the wood is cut from a log to lumber. When the log
is sliced without turning, the majority of the yield would become flat
sawn. A flat sawn board’s grain often takes the form of a cloud-like
flowing pattern. In general, flat sawn boards show less prominent figure.

Fleck
A thin brown color stripe which typically appears in eastern maple.

Flitch-Match
One of several methods to match two boards. Although not book-
matched, the boards are taken from the same lumber for the similarity of
the grain, figure, and color.

Gold Top
The term used to describe the Les Paul models produced between 1952
through early 1958. Although the first prototype is believed to have had a
sunburst finish, this unusual color was later chosen for production by Les
Paul himself, to enhance the presence of the guitar in a stage situation.

Grain
The plural dark colored fine lines which appear on the surface of lumber.
It is the annual ring which is exposed when the wood is cut. It often takes
on a cloud-like pattern.

Greenburst
One of the rare kinds of sunburst where the color of the shading is turning
into greenish brown. This is often seen as a variation of honeyburst or
teaburst.

Honeyburst
The top with the shading faded to a honey-like color, somewhere between
teaburst and lemon drop.
Inertia Block
The heavy weighted metal block placed under the bridge to either
enhance the sustain or the tone. The first guitar with this idea
incorporated into the design was the Fender Stratocaster, developed in
1954. Several other examples appeared in the mid ’70s.

Jacaranda
One variation of Brazilian rosewood, known to have a density between
Indian rosewood and ebony. It was the primary choice of rosewood till
the export of logs out of Brazil was banned in the mid ’60s.

Laminate
A structure with two or more layers of material glued together. In the
case of the Les Paul design, maple and mahogany are laminated to form
the body.

Lemon Drop
The color of the sunburst top which has totally faded to its yellow base
color.

Les Paul Regular

Prior to the usage of “standard” model designation, the word “regular”
was informally in use inside the factory to identify the single cutaway
Les Pauls. It was to differentiate between customs, specials, and juniors.

Les Paul SG
This name was given to the double cutaway design solid body guitar
which succeeded the single cutaway Les Paul. Its introduction to the
market was in late 1960/early 1961. In 1962, the Les Paul name was
dropped when the endorsement contract ran out.

Les Paul Standard

Though widely used to describe the single cutaway Les Pauls, Gibson did
not officially use the designation “Standard” until 1960.
The Log
A prototype electric guitar made by Les Paul around 1939-1941 at the
Epiphone factory. It has a 4x4 piece of lumber running through the center
of the body, hence the name.

Lover, Seth
Born in Kalamazoo, Michigan in 1911. During World War II, he was in
the Navy as a radio engineer. After the war, Lover joined Gibson in 1945.
Shortly after, he rejoined the Navy, but came back to Gibson in 1952 and
worked on electronics related items such as amplifiers and pickups. In
1955, he invented one of the most innovative items in electric guitar
history, the double coil humbucking pickup. In 1967 he left Gibson and
joined Fender. There he also developed humbucking pickups for guitars
such as the Telecaster Thinline.

McCarty, Theodore
Having worked for the large Wurlitzer retail chain, he was hired to rescue
Gibson, which was then suffering from inefficient management. He came
in 1948, and immediately succeeded in turning the business around,
continuing to lead Gibson through 1966. Not only did he possess
excellent management skills, he also had an engineering degree and
actively participated in research and development. He was responsible for
developing the first solid body, the Les Paul model, as well as other
innovative models such as the Flying V, Explorer and Firebird. He is also
the father of Semi-acoustic guitars represented by the ES335. In 1966. he
purchased the famous guitar accessory company called Bigsby and left
Gibson.

Narrow Frets
The frets on the Les Paul model were relatively small and narrow until
mid 1959.They were then changed to jumbo frets.

Nonburst
See lemon drop.
“Patent Applied For” Pickup
Gibson’s first hum cancelling pickup invented by Seth Lover. Also dubbed
as the P.A.F. by collectors, this name came from the small water transfer
decal applied on the bottom of the pickup. The patent was applied for in
1955, then granted in 1959. Meanwhile, the production started in 1957
and almost all the Gibson electric guitars were installed with this pickup.
In 1961, the decal was modified to have patent numbers. However, for
reasons unknown, the number was the patent number for the tailpiece
bridge invented by Les Paul.

Paul, Les
Born as Lester Williams Polfus in 1916, in Waukesha, Wisconsin. Paul
strated performing as early as age 13. Although he started out playing
country-style, later on he was heavily influenced by Django Reinhart. and
combined jazz style into his playing. In the ’40s he developed multi-track
recording and other special effects and incorporated them into his music.
At the same time, he formed a duo with singer Mary Ford. With all the
key ingredients in place, his style of music took off and their hit tunes
such as “How High the Moon” swept the nation in the ’50s. He already
had a concept for a solid electric and had a working prototype as early as
1939-1941 (refer to the Log”). This led to his involvement with Gibson in
what was to become the “Les Paul” model. Gibson’s first solid body
electric.

Pearly Gates
The name of the ’59 Sunburst Les Paul owned by the legendary Billy
Gibbons of ZZ Top. Originally it was the name of the car he used to own.
Pearly Gates is the name of the gates to heaven.

Pin Stripe
A flame or stripe figure that is very thin. Usually thinner than 3/16”.

P-90
A single coil pickup developed by Gibson R&D staffer, Walter Fuller, in
the ’40s. It was dubbed the “soap bar” as the square cream colored cover
resembles it. It was installed on almost all the electric models by Gibson
until the introduction of the humbucking pickup.

Primary Tone
The pattern of vibration produced by the body/neck unit of a solid body
guitar.

Quarter Sawn
This term is used when the lumber is cut with the annual rings
perpendicular to the surface of the board.

Red Filler

Special pore filler that was used on the Sunburst Les Pauls.

Ribbon Curt
A kind of figure that looks like twisted ribbon. The stripe is usually wider
than

Rift Sawn
When a piece of lumber’s cross section shows the grain running
somewhat slanted (not vertical or horizontal), it is rift sawn. Its
appearance is a mixture of quarter sawn and flat sawn, which makes an
interesting grain pattern. Many of the original late ’50s Les Pauls have
tops of this pattern designation.

Rigidity
Rigidity is the tendency to resist deformation. The Sunburst Les Paul has
a structure designed to have high rigidity, and the rigidity is further
enhanced by the aging. This structure of unusually high rigidity is one of
the major contributing factors to the renowned Sunburst Les Paul tone.

Secondary Tone
In solid body application (as opposed to the primary tone), the tone
obtained with the involvement of the pickup is referred to as the
secondary tone. The word is used to isolate the influence of the pickup as
a tone filter.

Single Ring
The hump at the base of the tuner button on Kluson keystone tuners is
called a “ring.” Up until early 1960, there was only one ring, and that is
called “single ring.” Later that year one more ring was added. This type is
referred to as a “double ring.”

60s Grip
The thin and flat neck grip shape that was used for the Sunburst Les Pauls
after mid 1960.

’60 Cherry
The type of cherry red that was used for sunburst shading after late 1960.
As opposed to the ’59 cherry, this was a pigment-based color and was
fade resistant. Often called “Tangerine-red” among collectors, it has a
different orange hue when compared to the ’59 cherry.

Stop Tailpiece
This was developed by Ted McCarty together with his Tune-O-Matic
bridge. It is in fact almost identical to the combination type
tailpiece/bridge that was used previously. The intonation screw was
omitted and the location was simply moved back to work as a tailpiece.
The studs for height adjustment were then used as tension adjustment
mechanisms. The originals were made from aluminum and were
lightweight to keep overall weight to a minimum.

Stud Bridge/Tailpiece
See bar bridge

Sunburst Layer
The layer of cherry-red shading on top of the yellow base coat. It is a
band of graduated patterns similar to a sunset in the sky. It is usually
sprayed around the top edge of the guitar body, making the edges darker
and the inner area lighter in color. This layer of shading is most sensitive
to aging compared to other layers.

Sunburst Les Paul

The original Les Paul model had a major spec change in 1958. The top
color went from gold to bright red sunburst. The back and the neck color
was also changed to cherry-red from natural. Although the change was
purely cosmetic, that coincided with the perfection of the model in all
respects. Today Sunburst Les Pauls are considered to be some of the most
prized electric guitars of all.

Tangerine-Red
Used to describe the top color of the late 1960 Les Pauls.

Teaburst
The color of the faded top that resembles the color of tea. The term is
applied to a relatively wide range of colors.

Tiger Stripe
One of the most commonly used terms to describe the striped figure
pattern of maple. Though the word covers a rather wide range of figure in
general, this book refers to tiger stripe when the width of the stripe is
thicker than 1/4”.

Tobaccoburst
A variation of the darkburst that shifted to brownish color with age.

Tune-O-Matic Bridge
Gibson’s first fully adjustable bridge invented by Ted McCarty. Each
saddle is adjustable by means of turning a small screw for perfect
intonation. It was first used on the Les Paul Custom, which debuted in
1954. The part number was ABR-1.

Two Piece Top

The maple top of the Les Paul model was originally made from three
pieces of random width maple glued together. This was changed to a
center glued two piece top when the finish was changed to sunburst in
1958.

Unburst
This is a word coined by collectors. Unburst is used to describe a top
color with excessive fading of red. The top is left with only the base color
of sunburst, which is yellow. It could also be called a “nonburst” or
“lemon drop.”

Wide Fret
The size of frets used after 1959 on most of the Gibson electric guitars. It
is wider than the previous fretwire.

Yellow Layer
One of the layers applied to form the finish coating on the Sunburst Les
Paul top. This layer is the second layer on the wood and the first used as a
color layer. It is very light reflective and acts as a back light to enhance
the sunburst effect. Since it is made with special pigment, it never fades.

Zebra
In 1959 and 1960, the bobbin color of the humbucking pickup was
temporarily changed to cream due to the shortage of black plastic
colorant. During the transition, two coils in one pickup could have
opposite colors. Since it resembled the black and white stripe of zebra,
this combination of bobbin color became known as zebra.
 ’BURST TALK
Interview With The Owners
Of all the burst slingers that influenced many Sunburst Les Paul players
of a later time, Billy Gibbons of ZZ Top is listed on top of the list, along
with players such as Jimmy Page and Duane Allman. Here is his story
about his beloved ’59 Les Paul, widely known as Pearly Gates.
Billy Gibbons

ZZ TOP
“Tone” is a meaningful word, but really, the tone of Pearly Gates far
exceeds the normal range of that word. Of all the burst slingers that
influenced many Sunburst Les Paul players of a later time, Billy Gibbons
of ZZ Top is listed on top of the list, along with players such as Jimmy
Page and Duane Allman. Here is his story about his beloved ’59 Les Paul,
widely known as Pearly Gates.
Q: At what age did you pick up a guitar?
A: I do not remember for sure, but it would probably be at four or five.
The first decent guitar that I got was a single cutaway, single pickup
Melody Maker made by Gibson. I would play it through a Fender Champ.
Q: It seems to be a real nice setup for a starter.
A: Yes. It was lucky for me to find a way to express myself from the
beginning with good tone like that.
Q: What did you get after the Melody Maker?
A: I found a Jazzmaster with a tortoise shell pickguard. This is in the
’60s. In those days, we were able to do cool things around where I used to
live. At the pawn shop in town, I would find a guitar I liked and buy it on
Friday. Then on the following Monday, I would bring the guitar back and
have the shop buy it back. That way I was able to touch and play all kinds
of vintage guitars without spending too much money. Back in those days
in Texas, most of those guitars were Fenders.
Q: What got you into Sunburst Les Pauls?
A: I came to know that it was what Eric Clapton used with the
Bluesbreakers. That kind of started it for me. I saw a picture of him
playing it. The picture was him playing a Les Paul Sunburst through a 2 x
12 Marshall combo. I figured that the big humbuckers on the guitar was
the reason for that sound. I thought I just had to get the same guitar.
Shortly after, Reid Ferral, a friend of mine who was a guitarist, called me
and said that he could get a Gibson with big humbuckers for me. I
thought, “Yes, anything with that pickup,” so I got him to get me the
guitar.
Q: So that was a Sunburst Les Paul.
A: No, that was a Flying V.
Q: You mean a Korina Flying V from late ’50s?
A: Yes. I bought it right then and still have it. It sounded good, but still it
was different from Clapton’s. So I went off again to find a Les Paul. I
gained more knowledge about it along the way.

The edge of the Back is almost contoured through his playing.

The Pearly Gates and the tour case.

Q: So, this is about what year?
A: Probably be ’68 or ’69. By then the late ’50s Les Paul had been
discontinued for about ten years. That was the time when British blues
was the rage. I found that to have a similarity with the kind of music that
blues players around Texas were playing, the distortion, sustain and a
very expressive tone, I had to have a guitar that made me able get that
kind of tone. I had to have a Sunburst Les Paul. As I went further in my
search, I came to know a few examples and was able to confirm that it
was the ideal guitar for me. Unfortunately, I was not able to find one for
sale for a long time. When I almost gave up, the player friend of mine
reported that he saw one somewhere. I found the owner, of course. The
owner said that he did not play it anymore and that he kept it under the
bed. So I started negotiating. The owner complained about the Les Paul
being heavy and said that he would consider parting with it if I could
come up with a lighter weight SG plus some money.
Q: You of course went straight ahead and bought it?
A: Not right away. I did not have enough money then. But fortunately, the
money came in just before the time limit the owner had set. About a
month prior to this, a girlfriend of mine was trying to go to California to
get a role in a movie. I had a ’36 Packerd, so I let her borrow that. She got
the role and returned the favor by selling the car at a good price. That
money arrived on the due date of the guitar deal. The car had a nickname
“Pearly Gates,” so I gave that name to the guitar. The whole world
changed when I got the guitar. The tone, the power. It was absolutely cool
sounding. No need for the fuzz or any pedals. Just an amp and a cord was
all you needed.
Q: I would like to hear more about Pearly Gates.
A: I would say it is almost a part of my body. And I have been taking her
around tours with me for a long time now. As you can see, the body even
changed its shape to fit to my body (the back edge of the body has been
worn and is quite round). She has been with me for so many years that I
cannot even think what I would do without her.
Q: Would you tell me more about the tone?
A: “Tone” is a meaningful word, but really, the tone of Pearly Gates far
exceeds the normal range of that word. The response has no comparison.
The roar of the wound strings on low drone chord. The strength of open
chords. Of course it is great not only when played hard. It has such a wide
dynamic range that it whispers when played delicately. The notes flow
out so smoothly. So smooth that the second my mind thinks to play, it is
there. Just as I want that note to be. On top of that, when the note is
sustained, it expands, changing the color every second. It is then that I
feel myself being at one with the guitar, sharing the same vibration. It is
important to me and I think that is the way that a true musical instrument
should be.
John Clardy

I am fascinated by the natural beauty of the wood.

John Clardy is a well-known collector who lives in Fort Worth, Texas.
His interest in vintage guitar was triggered by the Les Paul special he
bought when he was a teenager. He bought his first Sunburst Les Paul in
’78.
Q: How did you start collecting vintage guitars?
A: I was bitten by that bug when I was 16. I worked all summer and
bought a Sunburst Les Paul Custom. It was not a vintage one. It looked
and played good, but I sold it and bought a mid ’50s Les Paul Special. It
had P-90 pickups and the top was flat. It did not have big humbuckers,
but the neck was extremely nice and easy to play. I think that triggered it.
I said to myself “Boy, new Les Pauls are alright, but what a good tone
those old ones can put out.” From then on I started guitar hunting through
the papers. I eventually found out that the pawn shops were good sources,
too. I was interested in anything from the ’50s and ’60s. Not that I did not
touch new ones, but the older ones had more to offer.
Q: Tell me how you found your first Sunburst Les Paul.
A: That is still my most favorite guitar. I named her “Main Squeezed” I
got it in 1978. I worked at my father’s company then and there was a
music store across the street from there. I got to know a guy named Jim
Hammond there and he introduced me to Tony Dukes. Tony was a famous
guitar guy in Texas and I purchased the Main Squeeze from him. By the
way, I got to know Jim through Billy Gibbons’ friend, Reid Ferral. Later I
learned that Reid was also after Pearly Gates. Eventually Billy got it
before he did.
Q: I would like to ask you about the beauty and the tone of the
Sunburst Les Paul. Many people seem to be fascinated by the beauty
of the top, especially the color and the figure.
A: Speaking for myself, I guess I have been fascinated by the natural
beauty of the wood. The figure is amazing. It looks so three-dimensional.
As you change the angle you look at, the figure moves. The depth also
seems to change. The top changes its expression with different lights. I
think I never get bored looking at those beautiful tops. I have always
liked something that is made out of wood from the very beginning.
Q: How about tone?
A: It just sounds so good. It actually makes you feel like you are a much
better player. Basically each one has its own tone. I have never seen a
Sunburst Les Paul with bad tone.
Vic DaPra

Every time I open the case, it looks different. It always surprises me.

Born in Pennsylvania 1952, this avid, world renown collector of ‘Bursts

runs a shop called “Guitar Gallery” in Cannonsburg, which is just outside
of Pittsburg. His interest first steered him towards Sunbursts in the late
‘60s. He currently owns nine. Although his priority may seem to be the
wood, his true priority is the sound since he had been an active player for
many years.
Q: What stimulated your interest in Sunburst Les Pauls in the first
place?
A: The British blues players of the ’60s. I always liked Eric Clapton, Jeff
Beck, Jimmy Page. But apart from the British, Michael Bloomfield was
always top on the list. My big brother had a large collection of vinyl, so I
got to listen to Michael. First I only knew it was a Les Paul he was using,
but later on I figured out that it was a late ’50s Sunburst Les Paul. This
was probably very late ’60s.
Q: When did you get your first Les Paul?
A: In 1972.
Q: How many do you own now?
A: Nine.
Q: As far as the looks go, what type of Sunburst Les Paul do you like?
A: A faded color top with thick flame would be my choice.
Q: You just used the word “flame.” Does that have a special meaning
to you?
A: Oh, yes. To me that’s flame, flame and flame (laugh). The kind I like
is the wild one that moves a lot as you change the angle of view. I call it
“Dancing flame” or “Fire flame.” I do not particularly fancy the ones that
are straight.
Q: How about playability?
A: Those Les Pauls are the best rock guitars. Nothing even compares with
them. Extremely smooth to play. I would say the whole thing is the
craftsmanship itself. Very well made.
Q: The neck in particular?
A: I like ’58s and ’59s. I like it thicker. Easier to bend strings.
Q: Would you tell me about the beauty of the tone?
A: Oh, it is hard to describe in words. If I dare, it could be extremely
clean or dirty. It could sing like an angel yet it could roar like a beast.
Q: An extremely wide range of expression, isn’t it? It turns players’
emotions into notes so smooth that they just effortlessly come out.
Would you list the name of your favorite Sunburst players or albums
where we can hear that tone?
A: Jeff Beck’s “Truth,” Fleetwood Mac’s “English Rose.” I like Jimmy
Page’s solo on Heartbreaker (Zeppelin II). Mick Taylor’s playing with
the Rolling Stones is also good; the “Sticky Fingers” album and such.
And of course, the first two albums from the Allman Brothers Band
(Allman Brothers Band, Idle Wild South) are just fantastic. Incredible
tone. One of the best examples of the Marshall/Les Paul tone.
Q: I did not hear Eric Clapton?
A: Oh, because he kept changing his guitars. A Firebird, SG …
Q: What part of the Sunburst Les Paul attracts you most?
A: Of course the sound!
Q: As to the appearance, which is more important to you, the color or
the figure?
A: It would be the figure. Every time I open the case, it looks different. It
always surprises me.
Q: Any preference in the way the color fades?
A: I like the honey sunburst. Lighter than the teaburst.
Perry Margouleff

Sunburst Les Pauls have a tone and expression that could rival reed
instruments such as the clarinet or saxophone.

Perry Margouleff is undoubtedly one of the top experts on sunburst Les

Pauls. Born in Amarillo, Texas in I960, he is now an owner of a studio
called “Pie Studio” in Long Island which specializes in the ’70s style of
recording. He is also a professional guitarist who has performed on many
stages both inside and outside of the States.

Perry jamming with Paul Rogers. Perry is playing ’57 gold top with
P.A.F.s.
Q: When did you start collecting guitars?
A: At the age of 12. Before that I had no interest in guitars.
Q: What happened then?
A: I was borrowing my brother’s SG. The large headstock model,
probably a ’68 or ’69. One day it was stolen. Then my classmate’s brother
introduced me to a guy who bought and sold guitars. I bought one from
him, but when I saw what he had, my world changed. That was the
summer 1972.
Q: Did he teach you about old guitars?
A: Sure. He only showed me the good ones. My collecting virtually
evolved from that. But soon after I realized I was not just fascinated by
the guitars themselves, I was fascinated by the fact there were people who
made those great guitars. When I see a guitar, I always try to understand
what the maker had in mind. There are guys who play Les Pauls because
of Duane Allman, but that’s not my way. During that summer of 1972, I
worked all summer and got me a Gibson Johnny Smith. It was beautiful;
the shape, and the craftsmanship. It reminded me of the beauty of the
violin.
Q: Did you go on guitar hunting after that?
A: I went out hunting guitars as soon as I got my drivers license at 16. At
one time I went into this music store somewhere on the West Coast and
all the walls were filled with vintage guitars. Probably about a hundred.
Back then they were just used guitars. The store owner said they were all
$140 dollars each, so I bought about 20 or 30.
Q: In your opinion where do you think there is a concentration of
Sunburst Les Pauls?
A: I don’t keep track of every Les Paul I bought, but if there was a
concentration, it would be around Michigan, St. Louis, Indiana and
Chicago. Those places are all within a several hundred mile radius from
Kalamazoo where the Gibson factory used to be.
Q: How did you get to know about Sunburst Les Pauls?
A: First I saw a picture of Duane Allman playing one. Then I was told
Eric Clapton used one when he played with the Bluesbreakers. Also
Jimmy Page was playing one. So I had to have one. The first chance I got
to see a real one, I thought “This is it.″

Perry is the owner of Pie Studio located in Long Island. New York. His
clientele include Paul Rogers and Cheap Trick.
Q: This is about when?
A: Probably 1976.
Q: When did you start collecting Sunburst Les Pauls?
A: I bought the first one in 1978. That was a ’59. Extremely lightweight.
The top was a totally faded lemon drop color.
Q: Appearance-wise, what kind of ’Burst attracts you?
A: Half faded ’59 color. I like the figure to be irregular and wild.
Q: When you hear the word “flame” what image comes to your
mind?
A: Three-dimensional figure that moves as viewed from different angles.
Q: How would you call the kind of figure that does not have much
movement?
A: Probably “curl.”
Q: How about playability of Sunburst Les Pauls?
A: They play so easy.
Q: What type of neck is your favorite?
A: Medium thickness. Not too thin or thick.
Q: Do you play in a band?
A: I am a studio owner now but I still play as well. Recently I had an
opportunity to work with Paul Rogers of Free and Bad Company.
Q: What is your opinion about the tone of the Sunburst Les Paul?
A: The thing that other guitars cannot even come close to is that Sunburst
Les Pauls have a tone and expression that could rival reed instruments
such as the clarinet or saxophone. It seems that the note expands. From
the initial attack it seems to gain volume. Just like you can on reed
instruments.
Q: Wider tonal range?
A: Yes. Richer harmonics, too.
Q: Your favorite Sunburst player and albums?
A: Eric Clapton with the Bluesbreakers, ZZ Top’s first album and Allman
Brothers’ “Fillmore East Live,” just to name a few.
Q: What part of the Sunburst Les Pauls attracts you most?
A: When I was young I tended to lean towards the looks. But I am older
now and think of the sound as the first priority.
Ichiro Kato

To me the sunburst Les Paul means tone with clarity, the perfect balance
of highs and lows.

Ichiro Kato was born in Tokyo in 1950. He owns and runs an art gallery
in downtown Tokyo. Coming to the world of vintage guitars in 1974,
Ichiro started his Sunburst Les Paul collection in the late ’80s. Having
seven in his collection, he is definitely one of the top collectors outside
the U.S.A.
Q: How did you get involved in music and guitars?
A: I grew up listening to the Beatles. I was in junior high when that
happened. Then the British blues craze came. I got hooked on players
such as Clapton and Peter Green. I listened to the “Beano” album a lot.
With Peter Green, the Bluesbreakers had the “Hard Road” album. That is
also my favorite. On the U.S. side, there was Michael Bloomfield. “Live
at Bill Graham’s Fillmore East” still is one of my most favorite.
Q: So you knew that all of them had a Sunburst Les Paul?
A: The image was burnt in my eyes. The first thing I saw was the picture
of Eric Clapton playing his. But I just could not figure out why he was
able to get that sound. Everybody around me thought it was a semi-
acoustic. The sound of an electric guitar till then to us was that twangy
sound played by the Ventures. I started playing the guitar around 1965 or
1966. I tried many different kinds. But I always wanted the ’Burst. I was
deep into Peter Green. The way he played, the way he sounded. I kept
looking but I could not find one. I almost thought it was unreachable for
some reason.
Q: So when was your prayer answered?
A: It was either 1987 or 1988. The first one I found in Dallas. It had a real
strong red and the figure was fine and delicate. Since then I sold that.
From then on I kept on buying a ’Burst each time I went to Dallas.
Q: Of all the Sunburst Les Pauls, what kind do you like?
A: All of them (laughs). The only thing is that it must be original.
Q: As long as it is kept original, the degree of fading does not matter?
A: The fading is one of the beauties of the ’Burst. The difference or
should I say, the individuality. So it makes me collect one more (laughs).
Until about a few years ago I had collected other vintage guitars. But
finally I came to realize that when I really get down to the bottom of it,
the only thing that matters is the Sunburst Les Paul.
Q: Would you tell me about the tone?
A: The tone of a regular Les Paul and the tone of a Sunburst Les Paul to
me are as different as night and day. In general, my impression of a
regular one is mid-rangy and muddier. On the other hand, the tone of the
Sunburst is surprisingly clean. To me a Sunburst Les Paul means tone
with clarity, the perfect balance of highs and lows. The note also sustains
naturally with smoothness. In my opinion, if you plug into a pedal, you
don’t need a ’Burst. You need to play it pure. The guitar, the cord and a
good amp is all you need.
Q: You have seven in your collection now. Do they all sound
different?
A: Definitely. The ones that show lots of playing wear on the neck seem
to sing better. 8 6728 is not so played on so I need to play it more. 8 6727
was a one owner guitar before me, but the owner was a player and played
it regularly for a long time. It really sings. By the way, three of my
guitar’s serial numbers are almost next to each other. They are 8 6727, 8
6728 and 8 6730. It would be really great if I could find 8 6729 which
would fill in the gap.
Albert Molinaro

They are all different. Each one has its own character. It is fascinating.

Albert Molinaro, born in New Jersey in 1956, is the owner of Guitar ‘r’
Us in Hollywood, California. He has been a long- time collector of
Sunburst Les Pauls. From his first purchase he recalls about forty Les
Pauls going through his hands.
Q: Do you remember the first Sunburst Les Paul you saw?
A: The first one I saw was Duane Allman’s. Duane is one of my biggest
influences. I still remember clearly that it was 1971 when I saw a picture
of Duane playing that famous Sunburst Les Paul.
Q: Tell me about your first Les Paul.
A: I did not have much luck with those till 1983. Then a friend of mine
sold me the first one. It was an incredible guitar. Although it was a plain
top, it sounded so sweet. Tom Wittrock, a friend of mine who is one of
the most famous Sunburst collectors, named it “Honey.” From that first
one, I have bought, sold, or collected about forty Sunbursts. I currently
own six.
Q: As to appearance, how do you like it?
A: The color of the top I like most is the typical ‘59, very faded ones.
Fading gives the guitar that vintage, classy look. I almost think that the
color has improved with age. It is impossible to duplicate that color. It
takes 25 to 30 years to get there.
Q: How about the neck?
A: Medium thick, late ‘58 to ‘59 is my favorite. It is rather roundish.
Q: The sound?
A: Sweet and well rounded. Just like a beautiful lady.
Q: Would you list your favorite Sunburst players and albums?
A: Duane Allman’s “Fillmore East Live” (Allman Brothers), Paul
Kossoff’s “Live” (Free) and early Santana. Last but not least, all of Billy
Gibbons’ recordings are great.
Q: Would you tell me why and how you are attracted to those Les
Pauls?
A: They are all different. Each one has its own character. It is fascinating.
I think this is because they are all handmade. They are all different and
they are all beautiful. Even the ones without any figure on the top have
individuality. The P.A.F. pickups also have individuality. All the subtle
differences, when combined together, create such a unique musical
instrument, and that is a Sunburst Les Paul.
Ronny Proler

I almost hope not to find a perfect one. Because if I do,

I would lose all the fun of finding the beauty in each piece.

Ronny Proler is a veteran collector from Texas. Born in Houston in 1953,

he started collecting early. He is very thorough and knowledgeable, and
as a blues player, he nails the description of the P.A.F. tone.
Q: What attracted you to Sunburst Les Pauls in the first place?
A: Back in those days, when I lived in Austin, I used to go to jam
sessions. One night, I saw a guy playing a flame top Les Paul. That was
the first time.
Q: When did you actually started collecting Sunburst Les Pauls?
A: In ’72 or ’73. By then Billy Gibbons was already playing one. My
desire was boosted when I saw it. The first one I got was a ’59. It was
called “Ruby.” The red part of the sunburst was so strong, just like a ruby.
Q: Any special moments along with your collecting career?
A: One night I went to see the Dregs play. When I visited backstage, there
was what was to become Duane’s Les Paul. I had a chance to buy it that
night. But the price was so high. I even tried to talk my dad into letting
me borrow money. But what kind of a father would let his son spend a
ridiculous amount of money on a guitar. It was impossible. I was
heartbroken.
Q: would you tell me what you know about flame?
A: As far as I know, I see a lot of symmetrically figured top from the
latter part of 1959 to 1960. Also, mid ’59s tend to have big thick flame
figure.
Q: How do you describe the tone? Especially the P.A.F.?
A: Learning from what Eric Clapton and Duane Allman did, I tried taking
covers off of the P.A.F.s. But I never changed what is in there. That is a
violation to me. As to the P.A.F.s, I think all the 9 09xx series from 1959
are double whites. I know for a fact, 9 0925, 9 0926, 9 0930 are that way.
So I would like to know what is in Brockburst because the serial number
of that one is 9 0913. I also suspect 0 02xx series from 1960 are double
whites, too. My 0 0253, and 0 0271 I used to own and a few other guitars
are that way.
Q: Any difference in tone?
A: No, of course not. It is just mental. All the ’58s and mid ’59s are not
double whites but sound real good.
Q: In my experience of restoring P.A.F.s, all the double whites varied.
There were hotter ones as well as cooler ones.
A: The front pickup of 9 1864 I have is zebra and reads 7.5 k ohm. The
reading is low but the sound is punchy. The rear pickup I believe is 8.5 k
ohm. The average resistance reading of P.A.F.s is known to be about 8.0 k
ohm. The coil winding of the front one must be considerably less than the
rear one yet the tone is without a doubt the “double tone.” There is no
other pickup that has it. That appears especially when you bend the note.
Q: That top frequency sizzle is so unique to P.A.F. isn’t it?
A: Yeah. There is this main note and the sizzle goes in tandem with it.
When the main note moves with the string bend, the high one would
move parallel to it. They move together. The guitar sings when that
happens.
Q: It seems to be getting harder every year to find a good Sunburst
Les Paul. Do you think you will eventually find your perfect Sunburst
Les Paul?
A: It is really getting harder and harder. Sometimes the deal does not go
through and it breaks my heart. The perfect Les Paul would be very
difficult to find. There is the sound, the neck, the figure, the color and
more. However, I almost hope not to find a perfect one Because if I do I
would lose all the fun of finding the beauty in each piece.
Tom Wittrock

I like the kind of figure that I can almost feel with my fingers, the kind
with lots of depth.

One of the best known ‘Burst collector of all time, Tom Wittrock was
born in Cleveland, Ohio, in 1952. He now runs a music store, “Third Eye
Music,” in Springfield, Missouri. With his current collection of fourteen,
Tom is undoubtedly at a leading edge of ‘Burst collecting.
Q: When was your first encounter with a Sunburst Les Paul?
A: When I was young, my brother Bart had an old Les Paul. He always
told me that the best Les Paul was a Sunburst one. As a guitarist I tried
almost everything and I agree with my brother. I have been a guitar
dealer since the ’70s so I have seen quite a number of guitars, and this
also holds true from that point of view.
Q: When did you get your first one?
A: In 1975. I still have that guitar. I found it right here in this town, at a
music store here in Springfield.
Q: How many do you have now?
A: Fourteen.
Q: What kind of Sunburst Les Pauls do you collect?
A: I am interested in figure rather than the color. Color-wise, I prefer
either the real faded ones or the strong colored ones. I like the figure to
be very three-dimensional. The kind that if I ran my fingers on the top, I
would almost feel it. It could be thin stripe, thick flame or wild figure as
long as it is extremely three-dimensional.
Q: How about playability?
A: The shape of the neck is very important to me. I like the big frets. It
would be the type produced in 1959 and 1960. I am not so fussy about the
pickups. As long as they are P.A.F.s, I would not go figuring out D.C.
resistance and stuff. To me it is the neck. Whatever you do, you cannot
change the neck.
Q: Any preference as to pickup colors?
A: It is not so important. The sound is much more important. If I was to
describe the tone of P.A.F., I would say it growls. Real strong, biting
sound. Nothing else sounds even close to it. When I say “growl,” it’s not
the loudness but rather something special mixed into the note. It gives the
note its power of presence.
Q: Your favorite Burst player or albums?
A: Oh, there are so many. I don’t even know where to start. Well I like
everything with Peter Green. ZZ Top’s “First Album” and second album
(“Rio Grande Mud”) is also good. The Bluesbreakers’ famous “Beano”
album cannot be missed. That’s some of Eric’s best playing right there.
The Allman Brothers “Fillmore East Live.” By the way, the best Peter
Green of Fleetwood Mac era would be “Then Play On” and “English
Rose.”
Q: Who would be your top three ’Burst players?
A: Peter Green, Billy Gibbons then Duane Allman. Eric Clapton did not
use it for long so I did not include him.
Q: What part of the Sunburst Les Paul attracts you most?
A: The appearance. The reason why the sound does not come first is that
the sound could be somewhat duplicated. But you can never duplicate the
appearance. There are many good pickups available today but it is
extremely difficult to find wood with a figure as nice as the ’59 Les
Pauls.
FACTS OF THE ’BURST
 This chapter consists of the data that the author was able to
accumulate during this project. To guarantee accuracy, the measurements
were taken with a vernier caliper. The weight was calculated with a
digital scale. With a few exceptions, most of the 50 examples listed here
are included in this book. Comparing the subtle difference in
measurements of each individual guitar, we can determine the time when
the specifications changed by how they are built.

NUT WIDTH/NECK WIDTH AT BODY JOINT

The width of the neck was measured at the nut and where the neck
joins the body. The difference in these two figures shows the amount of
taper the fingerboard has. From the chart, we can gather that the deviation
of the measurement is extremely small. Also, it seems that the spec did
not change over the years. The neck width where it joins the body also is
consistent. Since the width of the neck contributes significantly to the
playability of the guitar, one can assume that the factory spent a great
deal of effort to maintain the consistency of production.
HEAD THICKNESS (Top and Bottom)
The thickness of the headstock is tapered. It is thicker at the
neck/head transition area, creating structural strength which helps to
prevent breakage. On the chart, the difference of the thickness between
the top and bottom part of the headstock shows the taper. The smallest
measurement is .032″, the largest, .625″. The average is about .043″. This
data shows that the headstock of the Les Pauls from this period has taper
without exception.
NECK THICKNESS (1st and 11th Fret)
These points of measurement were selected to avoid the influence of
variation in the transition area. In general, it is said that ’58 necks are
chunky, ’60 necks are thin and ’59s are in between. As the chart shows,
there is a slight discrepancy between this claim and the fact. In addition,
although not included in the chart, extremely thick ’60s necks do exist.
On this chart the thickness drops in 1959 with 9 0839. It again becomes
thinner in 1960 with 0 1490. The drop from 0 0205 is a rather surprising
.098″. In conclusion, the change from ’59 to ’60 is greater than that of ’58
to ’59. Although the thickness of the neck changed during this period, the
taper of the neck thickness stayed intact. When it became thinner at the
1st fret, the same amount was taken off at the 11th. This suggests that the
change of neck thickness was achieved with minor adjustments to the
neck shaping machine.
BODY THICKNESS
The thickness of the body stays consistent throughout the period,
especially at the neck joint. Accuracy was extremely important to assure
the proper neck pitch.
WEIGHT
Weight is one of the most important factors that influences the tone
of the guitar. As the chart shows, it varies from 8 lb 1.4 oz to 9 lb 11.4 oz.
There is not a correlation to the year of manufacture. This variation
largely depends on the difference in the weight of mahogany.
SERIAL NUMBER LIST
ACKNOWLEDGEMENTS

Photo Credits

Eiji Kikuchi
Les Pauls
8 5413
8 5489
8 5495
8 5502
8 6727
8 6730
9 0299
9 0310
9 0382
9 0632
9 0640
9 0901
9 0913
9 1061
9 1234
9 1876
9 1884
9 1885
9 1898
9 1927
9 1999
9 2204
9 2225
 9 2229
9 2324
9 2342
0 0154
0 0208
0 1490
0 1494
0 7170
0 7615
X XXXX
8 3324
8 3688
9 0875
Portraits
Perry Margouleff
Ichiro Kato
Neil Zlozower
Les Pauls
8 3096
9 0296
9 0656
9 0663
9 0697
9 0844
9 0910
9 1980
X XXXX
Ed Seelig
Portraits
Rick Derringer
Joe Walsh
Yasuhiko Iwanade
Les Paul
9 0905
Stephen Pitkin
Les Pauls
8 5386
8 5388
9 0583
9 0592
9 0593
9 0600
9 0627
9 0629
9 0839
9 1228
9 1854
9 1868
9 1887
9 1901
9 1923
9 1953
9 1981
9 2012
0 0205
0 2196
0 7448
Portraits
Vic Da Pra
Tom Wittrick
Author
James Bland
 Les Pauls
8 5418
8 6728
8 6749
9 0597
9 0669
9 0826
9 0925
9 0926
9 1163
9 1171
9 1688
9 1864
9 2314
0 0253
0 2188
Portraits
Billy Gibbons
Ronny Proler
John Clardy
Yukio Yanagi
Les Pauls
8 5416
8 6752
9 0280
9 0341
9 1982
8 1689
Special Thanks To

Theodore M. McCarty
Billy Gibbons (ZZ Top)
Slash
John Clardy
Vic Da Pra
Perry Margouleff
Ichiro Kato
Albert Molinaro
Ronny Proler
Cindi Proler
Tom Wittrock
Meyer Rossabi
Steve Segal
Hajime Yoshino
Tadashi Mitsui
Jim Colclasure
Mark Pollock
Artie Smith
John Dworkow
Nick Olifiers
Dan Erlewine
Mark Erlewine
Michael Stevens
Bryan Galloup
Steve Soest
Paula Soest
Micheal Indelicato
Gil Southworth
Lou Gatanas
Ritchie Friedman
Adam Day
Tom Maher
Larry Acunto (20th Century Guitar)
James Acunto (20th Century Guitar)
Bill Rich
Cezer Diaz
Jean-Pierre Wack
Charles A. Daughtry
Ruth Devere
George Fullen
Andre Duchossior
Denise Zlozower
Larry Poe
Susan Blanda
Ronn David
Ed Seelig
Jun Sekino
Ashura Ito
Miyoko Jean Iwanade
Naoki Ogane
Gibson Musical Instruments
Yamano Music Co., LTD.
Smash Hits
Hyper Guitars
Closing
Many years ago, when these old guitars were new, they were different
from what we see now. The parts were put together, the strings were put
on and the guitars were shipped to their new homes. There, their years
passed together with their owners. The lapse of time slowly but surely
changed the guitars, often in a way the creators never even imagined. The
color changed, the sound changed and even the shape changed as if time
was trying to remake the instruments. Some guitars deteriorated with age
and some improved with age. The theme of this book, Sunburst Les Paul
is one such example that improved to perfection with age.
Created by the great wisdom and tireless effort of pioneers, surviving
through time, maturing with time, the vintage guitars are definitely the
chosen ones. In that sense, I cannot help but think that they are the
masterpieces which came into being by human hands and completed by
the gods of time. This whole book is a study of the Sunburst Les Paul
from many different points of view. From its birth, through its historical
background and its evolution, I hope that this book will help readers
understand the true essence of the Sunburst Les Paul. The Les Paul model
is, without a doubt, one of the most recognized models, and represents the
achievements of the pioneers of this century.
In closing, I would like to thank Mr. Saito, Mr. Noguchi and Mr.
Tabata of Rittor Music, Inc. and the staff of Hal Leonard Corporation. For
without their confidence, diligence and patience, this book would not
exist, I would also like to thank my wife, Miyoko, for her support
throughout this project.

Winter 1999
Yasuhiko Iwanade

Profile: Yasuhiko Iwanade

Profile: Yasuhiko Iwanade

 Yasuhiko Iwanade was born in Tokyo, Japan, in 1953. He worked as a
musician in the 70s and then came to the guitar industry when he got a
job at one of the busiest music stores in Tokyo. In 1979 he went on his
own and formed Guitarix. His main focus then was the repair and
restoration of vintage American guitars, along with trading such
instruments. During this time he kept researching the history and
construction of vintage guitars writing a column on the subject in one of
the leading magazines. In the late ‘80s, his knowledge and ability to make
superior guitars were recognized by one of the most established
American guitar companies, and he was hired to make custom guitars for
professionals. Going on his own again in 1993, he now resides in his
home town Tokyo, Japan, with his wife Miyoko. He contributes to both
the Japanese and American music industry by doing consulting work for
design, manufacturing and marketing of electric guitars.