Fernandes is the parent company that made most of the company’s Fender replica guitars under its own Fernandes name. Burny is the brand name or division that focused on the making of Gibson replica guitars. For their Fender copies, they were forced to change their headstock shape completely. The rare old Fender and Gibson “lawsuit” replicas that can be found are extremely accurate in their attention to detail that the original Fender and Gibsons had. The headstock logos were dead ringers from 15 feet away. On the Revival Stratocaster, the saddles were stamped like Fenders, except bore the F. Other details were uncanny, too, in their replication of the Fender Strat. The Tele was just as meticulously cloned as well. Most Japanese guitar manufacturers used the model number to reflect the list price of the guitar. They say the feel of the neck is identical and especially enjoy the tone of the pickups.
Baldwin Guitars and Amplifiers
I assumed that when I bought the guitar that I would need to eventually swap out the pickups to ones that were higher output. My primary plan when I bought the guitar itself was to use it for classic and hard rock tones, and I figured that I would need pickups with a little more kick. However, from day one of actually owning and using the guitar with these pickups, I’ve been suitably impressed.
They are both lower output when compared to say, a Duncan JB or a Suhr Doug Aldrich , but that doesn’t mean that they can’t rock.
Here is a bit of information I found while searching for information about my Aria (Ariana) A Classical Guitar, which you Aria owners may find beneficial.
For pricing and hold status of this instrument, please check here. If this instrument does not appear on the Instruments page it has been sold. Solid maple top; one-piece Honduras mahogany body and neck; solid ebony fingerboard; multi-ply cream binding. Original hardware includes twin Gibson Pat. Vintage 60’s Gibson hardware includes Kluson Super ‘waffleback’ tuners, gold ‘witch hat’ volume and tone knobs. Vintage correct hardware includes hand antiqued gold stop tailpiece, twin ‘bumblebee’ capacitors, switch and tip.
Introduced in , the Les Paul Custom was Gibson’s upmarket version of their popular original gold top model. Borrowing the ornate inlay patterns of the Super and L-5, the Custom also featured a solid ebony fingerboard and multi-ply binding.
Gary Moore’s Guitars and Gear
Tweet Gibson USA’s lineup of electric guitars finds the sweet spot between tradition and innovation Gibson just lifted the tent flap on its new electric guitar offerings and early indications point to as a banner year for the brand. And Gibson is also giving some of its more exotic models facelifts in the coming year. A lot of work goes into the neck carve and fretwork of the Les Paul Faded T to evoke that sense of a seasoned and familiar instrument that fits you like the proverbial glove.
The Mahogany slim taper neck is a nod to modern shredders while modern R and T humbuckers exploit all the tonal goodness and resonance churned out by the weight-relieved body. The faded finish underscores the sense of holding a veteran axe. The gloss finish gets a carefully applied treatment giving it a convincingly worn appearance.
If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 and I firmly believe, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size. Nearly mint — great guitar.
After release of the first Performing Artist Series last year, Martin added the “4” models in , consisting of dreadnought, orchestra, and grand performance models. The GPCPA4 shares characteristics from the big rich sound of the Dreadnought and the clarity of the Orchestra model and combines them for a sonic signature of its own. The Performing Artist Series feature a more parallel neck profile with a slimmer taper at the 12th fret, giving the guitar comfortable width in the first few frets plus a faster feel for lead-work up the neck.
The new smaller bridge design reduces mass and increases the soundboard’s tonal response. This is an excellent sounding acoustic, with a very round tone and good projection. Plugged in the tone is more natural than most other saddle transducers I’ve used and while the EQ’ing is limited, the mid-scoop design can change the character of the tone very distinctly, from tones similar to a dreadnought, jumbo, or even a parlor size. Here’s a great performance demo link.
2013 Gibson Les Paul Traditional Pro II
F-Spacing, Standard Spacing Why are there two different spacings? A long time ago in the 20th century, actually the electric guitar world was divided between Gibson and Fender designs. One of the differences between the two was string spacing. In general, Gibson chose a narrower string spacing at the bridge than Fender, and therefore the polepieces on Gibson humbuckers were closer together than the magnets on Fender pickups.
Reviews A gigging musician’s tool box with ’60s slim-tapered neck, coil-split humbuckers and a boost circuit. With all the fat, sweet, snarling Les Paul tone that purists love, the new Gibson Les Paul Standard Traditional Pro II sports a mahogany body with a thick maple cap for the perfect blend of warmth and clarity.
The top is finished in high-gloss lacquer, while the back, sides, and neck have a smooth satin finish that feels great and lets the wood resonate fully. Period-Correct Pickguard The creme-colored pickguard has been a Les Paul staple dating back to the models of the late s and the early s. Many players, however, removed the pickguard from their Les Pauls to show off the beauty of the flame maple tops, prompting Gibson to stop installing the pickguard altogether. During the s and s, Gibson began reinstalling the pickguard in the factory, and the Les Pauls from this era once again arrived in stores bearing the classic, creme-colored pickguard.
The Les Paul Traditional comes equipped with a period-correct pickguard, designed to protect the maple top. Neck – ’57 Classic; Bridge – Super ’57 Among the qualities that make Gibson’s original “Patent Applied For” humbucking pickups so unique are the subtle variations between coil windings. The ’57 Classic and Super ’57 pickups are the result of Gibson’s drive to capture and recreate this characteristic.
Introduced in , the ’57 Classic at the neck provides warm, full tone with a balanced response, packing that classic Gibson PAF humbucker crunch, inspired by those original PAFs that received a few extra turns of wire. The Super ’57 bridge pickup debuts in the Trad Pro with a wider frequency response and increased output. Both are made by Gibson to the exact same specs as the original PAFs, including Alnico II magnets, nickel-plated pole pieces, nickel slugs, maple spacers, and vintage-style, 2-conductor braided wiring.
Gibson added poly-coated wiring, which improves consistency by eliminating thick or thin spots on the wiring, and wax potting, which removes all internal air space and any chance of microphonic feedback.
1974 Gibson Ripper
We sometimes get requests to verify the authenticity of Lollar pickups, whether its a set that pops up on eBay, or a used guitar that is said to be stocked with our stuff. Sometime in or we standardized how our pickups were marked, and it is still done the same today. The only way to know for sure that you have a genuine Lollar pickup is to check the bottom and look for the proper markings. We label them in a few different ways, from humbuckers to Strats… there are certain things to look for to insure authenticity.
Color is important as well… a black label is standard wind, grey is a Low Wind, and red is a High Wind.
All numbers were impressed into the wood and a six digit number assigned, though no particular order was given and some instruments had a letter prefix. The orange labels inside hollow bodied instruments was discontinued in and were replaced by white and orange rectangle labels on the acoustics, and small black, purple and white rectangle labels were placed on electric models. A few bolt on neck instruments had a date ink stamped on the heel area.
In , Gibson first introduced the serialization method that is in practice today. This updated system utilizes an impressed eight digit numbering scheme that covers both serializing and dating functions. The pattern is as follows:
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The body is made of highly flamed maple, absolutely gorgeous. And most of all, there is a detail we have never encountered on a Country Club: The sound post connects top and back, giving the guitar a greater rigidity, to avoid feedback problems when played really loud. No heavy dings, no heavy wear. The binding deterioration, so common on ’60 Gretsches, was becoming a real problem on the guitar’s body, since it just could not be stopped in any way.
In the s, Gibson standardized the serial number system that is still in use today. The typically eight-digit serial numbers on Gibson guitars are stamped on the backside of the headstock. The first and the fifth number combined show the year that the instrument was made. The second, third, and fourth numbers show on which day of that year the instrument was made.
From the number is typically found on a decal on the back of the headstock, this should be an 8 digit number that can be dated by the 1st and 2nd digits as follows: The pattern is as follows: Prior to when the Kalamazoo, MI factory was closed, the numbers indicated Kalamazoo production. Ranking numbers continued to indicate Nashville production through Ranking numbers for Bozeman start each day at and the electrics may start as low as the s. The sixth number is now a batch number- batch 0 starts at the beginning of the day, and once we stamp , the batch number will change to 1.
The first 5 numbers remain the same, the last 3 numbers will remain the same. The only difference is the addition of this batch indicator. There are always exceptions to these rules, the two listed below are worth noting: Most will be 5 to 6 digits in length, but the earliest examples feature 4 digit serial numbers.
Gibson Les Paul Guitar Serial Information
What is your main stage equipment now? I have about six or seven of them. The pickup suits the amp. What I need is a fairly clean sound and then the amp looks after the distortion. And a lot of these current model guitars are made with the possibilities to get a clean sound or a dirty sound out of a transistor amp. I put a DiMarzio pickup in the middle but I never use it.
If you’re looking for an easy to play guitar, the action doesn’t get any lower than this baby. Excellent value and quality that’s typical of Korea today. This model was only made in one small run so there aren’t many of these around – most of the Harm 3 models feature the cats eye f-hole in a semi-hollow design while this model was a limited edition production model that’s no longer available.
It features a solid archtop mahogany body, 22 fret maple set-neck with ebony fretboard and synthetic bone nut, side markers on the side of fretboard only, jumbo frets, flat The setup on this guitar is superb and the tone is warm and rich, very good choice for anything besides metal. Last Guitar , pic2. More pics and full description at this link: Owned by Martin Miranda, my world-class tech, who was a close friend of Bernie and this was the last guitar that Bernie ever built, albeit not quite finished, and he was working on it the very day of his untimely passing.
Click the link for a full description and feel free to email Martin Miranda directly at the address on the page.
Gibson Serial Numbers
The guitar has a fantastic tone. This guitar is in fantastic shape, just a small buckle mark on the back near the pot cover. Other than that its near perfect.
Contact the vintage guitar info guy. The originality of the pickups and their mounting rings are both important factors in the integrity of a vintage Gibson guitar. There are some basic facts that should be known about these first-generation humbucking pickups. First PAF pickups came about in on Gibson steel guitar models, and on on many Gibson spanish guitar models, and lasted to about to Nickel plated part models transitioned away from PAF pickups first around , since these guitars were sold in greater numbers.
PAF pickups of course have two internal coil bobbins under a 1. I guess we should start with a little history of the Gibson PAF pickup. By the mid s, Gibson wanted to counter the latest electric guitars introduced by Fender. Leo Fender had built a company that was a sizable competitor in the solid-body guitar market place. Gibson believed they could beat Fender with their high quality Les Paul, and by developing a low-noise pickup.
The problem with Gibson’s P and Fender’s single-coil pickups was inherent in their designs, allowing cycle hum noise to interfer with the sound.