Help Wanted

[Treble_Booster]

Hello, so basically I am writing an essay for my design course at Bournemouth University about guitar design- particulary the burst and what it is that makes it quite so special- was it clever design or by accident? Do they command such a high price because they are the "modern Stradivarius" or because Jimmy Page and Eric Clapton made them famous? Was it only when the correct amp in the form of a Marshall came along that made them sound so good?

Anyway, I feel that in order to better understand these objects and the subtle nuances of their construction and craftsmanship, I need to experience them in real life, and compare them to my own modern Gibson- produced 50 years after the "Golden Era".

What I am asking is this:

Is there anyone in the UK who wouldn't mind me showing me and letting me play/photograph their vintage Gibson (preferably a 50's Gold Top or Sunburst Les Paul) for research? I can travel within the UK and provide reasonable compensation of course. Thank you for reading!

 

[brandtkronholm]

Hello, so basically I am writing an essay for my design course at Bournemouth University about guitar design- particulary the burst and what it is that makes it quite so special- was it clever design or by accident? Do they command such a high price because they are the "modern Stradivarius" or because Jimmy Page and Eric Clapton made them famous? Was it only when the correct amp in the form of a Marshall came along that made them sound so good?

Anyway, I feel that in order to better understand these objects and the subtle nuances of their construction and craftsmanship, I need to experience them in real life, and compare them to my own modern Gibson- produced 50 years after the "Golden Era".

What I am asking is this:

Is there anyone in the UK who wouldn't mind me showing me and letting me play/photograph their vintage Gibson (preferably a 50's Gold Top or Sunburst Les Paul) for research? I can travel within the UK and provide reasonable compensation of course. Thank you for reading!

The answer to "what makes a 'Burst so special" is:
All of the above.

It is a clever design. (Find out what Les Paul's original idea was for a solid-body guitar.)
It is an accident (or good fortune) that they became one of the go-to electric guitars 6-10 years after they were discontinued.
Gibson (Fender and a few other) electric guitars from this era (late '50s-early '60s) are considered modern Strads, not just 'Bursts.
Indeed, much of the price is because Bloomfield, Page, Richards, Clapton, Beck, Allman, Gibbons, Wachtel, and a very, very long list of other famous musicians payed them.

Here are videos of George Benson playing a 1960 'Burst in 1964. (His amp is a tweed Fender of some kind. It was manufactured before 1961.)

Lastly, It's not just the Marshall. Here's Mike Bloomfield in 1969 playing through a '59 through a big pile of blackface (and possibly silverface) Fender Twins.

Good luck on your essay. I hope you get to play an original!
Keep in mind that the performance of one original cannot be generalized to all other original '50s Gibsons!

 

[Treble_Booster]

The answer to "what makes a 'Burst so special" is:
All of the above.

It is a clever design. (Find out what Les Paul's original idea was for a solid-body guitar.)
It is an accident (or good fortune) that they became one of the go-to electric guitars 6-10 years after they were discontinued.
Gibson (Fender and a few other) electric guitars from this era (late '50s-early '60s) are considered modern Strads, not just 'Bursts.
Indeed, much of the price is because Bloomfield, Page, Richards, Clapton, Beck, Allman, Gibbons, Wachtel, and a very, very long list of other famous musicians payed them.

Here are videos of George Benson playing a 1960 'Burst in 1964. (His amp is a tweed Fender of some kind. It was manufactured before 1961.)

Lastly, It's not just the Marshall. Here's Mike Bloomfield in 1969 playing through a '59 through a big pile of blackface (and possibly silverface) Fender Twins.

Good luck on your essay. I hope you get to play an original!
Keep in mind that the performance of one original cannot be generalized to all other original '50s Gibsons!

Yep all of the research I will be doing for this project will cover Les' design work and innovation! Else wise my thesis is on the quality and design of manufacture of that era of instruments (not on any model in particular but for reference sake I have an 09 sunburst trad, so a fair comparison would be the equivalent model from the era) and why they have soared in value and collectability in the present day, when at the time they were not widely successful. The boom came after it was paired with the Marshall amplifier- factually speaking.

I must impress that my thesis has NOTHING to do with the tonal properties of any of the instruments, except for anything musically that the design has actively contributed to (for example the humbucker) or anything which drove sales and popularity (eg it's pairing with a totally seperate entity- the Marshall). This is not a delve into the "59 sound"

 

[Wally]

The articulate sound of a guitar with a solid Body was the heart and soul of the drive that moved Les Paul to build ‘The Log’. He built the log after he had done his research with a string stretched between two nails driven into a railroad crosstie…or so the story goes. The ‘Log’ led to that solid body construction of the Gibson Les Paul. The maple cap was and is integral to the final Sonic results.
The argument can be made that Mike Bloomfield was the prime impetus that brought the Les Paul Standard into the usage by Page, Clapton, Gibbons and others. That Chicago blues scene was a big influence on all of those players.

 

[Wally]

Page bought his ‘Number one’ L.P. From Joe Walsh in 1969. Walsh sold it to him for the cost of delivery….Walsh hand-carried the guitar to England and sold it for $1200 because Walsh thought Page needed a Les Paul for the Zepellin thing.
Bloomfield’s influence predates that. Hey, Joe Walsh’s ‘Funk 49” and The James Gang predates Zepellin.
John Mayall’s ‘The Bluesbreakers with Eric Clapton’ predates Led Zepellin.
There is no doubt that Page’s use of the L.P. Has had an influence on the use and desirability of the Les Paul. However, the fact that Gibson re-introduced the Les Paul in 1968 prior to the existence of Led Zepellin has to indicate what many hold to be the proof for thinking that Mike Bloomfield pushed the L.P. Into usage in the rock world of the late ‘60s and beyond. Gibbons was 0lay8ng a L.P. In the late ‘60s, iirc.

 

[ourmaninthenorth]

You may find these clips useful.

and an excerpt from the documentary where Mike Bloomfield specifically talks about the Les Paul and it's timely use by some very big noise musicians of the 60's.

I believe the Guitar Shows are starting again this year in the UK, may I suggest you get to as many of them as you can.? That itch to get your hands on one of these iconic guitars is emminently scratchable. I broke my 'Burst duck on this very forum some years ago by asking a question not dissimilar to yours.

I wish you well in your research and your quest.

 

[El Gringo]

Hello, so basically I am writing an essay for my design course at Bournemouth University about guitar design- particulary the burst and what it is that makes it quite so special- was it clever design or by accident? Do they command such a high price because they are the "modern Stradivarius" or because Jimmy Page and Eric Clapton made them famous? Was it only when the correct amp in the form of a Marshall came along that made them sound so good?

Anyway, I feel that in order to better understand these objects and the subtle nuances of their construction and craftsmanship, I need to experience them in real life, and compare them to my own modern Gibson- produced 50 years after the "Golden Era".

What I am asking is this:

Is there anyone in the UK who wouldn't mind me showing me and letting me play/photograph their vintage Gibson (preferably a 50's Gold Top or Sunburst Les Paul) for research? I can travel within the UK and provide reasonable compensation of course. Thank you for reading!

No disrespect , but I don't see anyone letting you play there vintage burst . Probably just on the value and rarity alone . Look at it another way , would you feel comfortable letting a total stranger in your home to handle and play your vintage burst that is worth so much ? Probably not . Too much of a risk with no upside . Sorry . I wouldn't even let a stranger play my Gibson Custom Les Paul's . Besides myself only my tech touches my instruments .

 

[brandtkronholm]

Yep all of the research I will be doing for this project will cover Les' design work and innovation! Else wise my thesis is on the quality and design of manufacture of that era of instruments (not on any model in particular but for reference sake I have an 09 sunburst trad, so a fair comparison would be the equivalent model from the era) and why they have soared in value and collectability in the present day, when at the time they were not widely successful. The boom came after it was paired with the Marshall amplifier- factually speaking.

I must impress that my thesis has NOTHING to do with the tonal properties of any of the instruments, except for anything musically that the design has actively contributed to (for example the humbucker) or anything which drove sales and popularity (eg it's pairing with a totally seperate entity- the Marshall). This is not a delve into the "59 sound"

As far as design and manufacture go, here's a website that has great information, including shipping totals for various Gibson guitars over these classic years:
Guitar HQ
Solid body shipping totals 1952-1969
It appears that approximately 8000 solid-body guitars were shipped by Gibson in 1959. That's about 32 solid-body guitars every day for 50 work weeks! This doesn't include acoustics, semi-hollow and hollow/jazz guitars. Any notion that they were all hand-made is immediately rendered false. It really was a factory!

 

[Ferdie3564]

1959 Gibson Les Paul TORN APART

www.lashingguitars.com

 

[DutchRay]

No disrespect , but I don't see anyone letting you play there vintage burst . Probably just on the value and rarity alone . Look at it another way , would you feel comfortable letting a total stranger in your home to handle and play your vintage burst that is worth so much ? Probably not . Too much of a risk with no upside . Sorry . I wouldn't even let a stranger play my Gibson Custom Les Paul's . Besides myself only my tech touches my instruments .

Really? Anyone who thinks they can handle my guitars are more than welcome, I'll share my '55 with anyone interested.

 

[El Gringo]

Really? Anyone who thinks they can handle my guitars are more than welcome, I'll share my '55 with anyone interested.

You are a better man than I am for sure !

 

[Treble_Booster]

No disrespect , but I don't see anyone letting you play there vintage burst . Probably just on the value and rarity alone . Look at it another way , would you feel comfortable letting a total stranger in your home to handle and play your vintage burst that is worth so much ? Probably not . Too much of a risk with no upside . Sorry . I wouldn't even let a stranger play my Gibson Custom Les Paul's . Besides myself only my tech touches my instruments .

I hate to burst your bubble but I've had 3 offers already ask and ye shall recieve as they say!

 

[El Gringo]

I hate to burst your bubble but I've had 3 offers already ask and ye shall recieve as they say!

Awesome !

 

[Enlarscom]

I hate to burst your bubble but I've had 3 offers already ask and ye shall recieve as they say!

Just awesome

 

[El Gringo]

I hate to burst your bubble but I've had 3 offers already ask and ye shall recieve as they say!

Just to be clear how does this burst my bubble ?

 

[Flogger]

Page bought his ‘Number one’ L.P. From Joe Walsh in 1969. Walsh sold it to him for the cost of delivery….Walsh hand-carried the guitar to England and sold it for $1200 because Walsh thought Page needed a Les Paul for the Zepellin thing.
Bloomfield’s influence predates that. Hey, Joe Walsh’s ‘Funk 49” and The James Gang predates Zepellin.
John Mayall’s ‘The Bluesbreakers with Eric Clapton’ predates Led Zepellin.
There is no doubt that Page’s use of the L.P. Has had an influence on the use and desirability of the Les Paul. However, the fact that Gibson re-introduced the Les Paul in 1968 prior to the existence of Led Zepellin has to indicate what many hold to be the proof for thinking that Mike Bloomfield pushed the L.P. Into usage in the rock world of the late ‘60s and beyond. Gibbons was 0lay8ng a L.P. In the late ‘60s, iirc.

That would be Pages second LP, he had a 60 Custom that he used for session work. Don't forget Keef used a Burst for Satisfaction and the TAMI show, though they did record at Chess in Chicago that year, but even then Bloomfield was still on a Tele.

I was under the impression that Walsh delivered the Burst on the east coast leg of Zep's 2nd or 3rd tour, shortly before the Boston Tea Party gig.

 

[charliechitlins]

No disrespect , but I don't see anyone letting you play there vintage burst . Probably just on the value and rarity alone . Look at it another way , would you feel comfortable letting a total stranger in your home to handle and play your vintage burst that is worth so much ? Probably not . Too much of a risk with no upside . Sorry . I wouldn't even let a stranger play my Gibson Custom Les Paul's . Besides myself only my tech touches my instruments .

Bummer.

 

[bluesky636]

No disrespect , but I don't see anyone letting you play there vintage burst . Probably just on the value and rarity alone . Look at it another way , would you feel comfortable letting a total stranger in your home to handle and play your vintage burst that is worth so much ? Probably not . Too much of a risk with no upside . Sorry . I wouldn't even let a stranger play my Gibson Custom Les Paul's . Besides myself only my tech touches my instruments .

Pretty poor attitude.

I walked into Rumbleseat Music several years ago when they were in Carmel-by-the-Sea in California. I saw what I thought was the Goldie Collectors Classic hanging on the wall. Found out it was the real 59. I asked to play it and they handed it to me and plugged it into the normal channel of a Blackface Bassman. No questions asked. No credit check. There are generous people out in the world. A lot of them are members of this forum.

I got to play the real Goldie

Just got back from TDY in Carmel, CA. During my limited free time (a short day was 12 hours), I made it over to Rumble Seat Music in Carmel-By-The-Sea. I saw a "Goldie" on display on the wall and asked if it was the Custom Shop version. I was told no, it was the real one. I asked if I could hold...

www.lespaulforum.com

 

[El Gringo]

Pretty poor attitude.

I walked into Rumbleseat Music several years ago when they were in Carmel-by-the-Sea in California. I saw what I thought was the Goldie Collectors Classic hanging on the wall. Found out it was the real 59. I asked to play it and they handed it to me and plugged it into the normal channel of a Blackface Bassman. No questions asked. No credit check. There are generous people out in the world. A lot of them are members of this forum.

I got to play the real Goldie

Just got back from TDY in Carmel, CA. During my limited free time (a short day was 12 hours), I made it over to Rumble Seat Music in Carmel-By-The-Sea. I saw a "Goldie" on display on the wall and asked if it was the Custom Shop version. I was told no, it was the real one. I asked if I could hold...

www.lespaulforum.com

Wow , so now you can judge me behind your keyboard . Talk about " Pretty poor attitude " It's only a minor difference when going in a shop that is openly plying there merchandise versus a "private citizen" without any obligations to random strangers . Think about that for a second . Have a Great Day

 

[bluesky636]

Wow , so now you can judge me behind your keyboard . Talk about " Pretty poor attitude " It's only a minor difference when going in a shop that is openly plying there merchandise versus a "private citizen" without any obligations to random strangers . Think about that for a second . Have a Great Day

Goldie wasn't for sale, therefore Rumbleseat was under no obligation to allow a "random stranger" to play it, but they did. Like I said, there are still generous people in the world. Think about that for a second.

I'm retired. Every day is great for me.