The Les Paul Manual: Buying, Maintaining, Repairing, and Customizing Your Gibson and Epiphone Les Paul 9781627888011, 9780760349236

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The LES PAUL Manual

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© 2015 Quarto Publishing Group USA Inc. Text © 2015 Terry Burrows Photography © 2015 The Orgone Company First published in 2015 by Voyageur Press, an imprint of Quarto Publishing Group USA Inc., 400 First Avenue North, Suite 400, Minneapolis, MN 55401 USA. Telephone: (612) 344-8100 Fax: (612) 344-8692 quartoknows.com Visit our blogs at quartoknows.com All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. Voyageur Press titles are also available at discounts in bulk quantity for industrial or sales-promotional use. For details contact the Special Sales Manager at Quarto Publishing Group USA Inc., 400 First Avenue North, Suite 400, Minneapolis, MN 55401 USA.

ISBN: 978-0-7603-4923-6 Digital edition: 978-1-62788-8-011 Softcover edition: 978-0-76034-923-6 Library of Congress Cataloging-in-Publication Data Burrows, Terry, author.   The Les Paul manual : buying, maintaining, repairing, and customizing your Gibson and Epiphone Les Paul / Terry Burrows.        pages cm     ISBN 978-0-7603-4923-6 (paperback) 1. Gibson Les Paul standard guitar. 2.  Electric guitar-Maintenance and repair. 3.  Electric guitar.  I. Title. ML1015.G9B949 2015 787.87’192--dc23 2015033706 Acquiring Editor: Todd Berger Project Manager: Sherry Anisi Art Director: Cindy Samargia Laun Cover Designer: Ryan Scheife, Mayfly Design Researched, designed, and edited by The Orgone Company Photography: Paul Smith On the front cover: Images courtesy of Outline Press Ltd. On the back cover: Images courtesy of the Orgone Company

10 9 8 7 6 5 4 3 2 1 Printed in China

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The LES PAUL Manual

Terry Burrows

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CONTENTS 6 THE LATE STARTER: GIBSON LES PAUL

CHAPTER TWO

BASIC CARE CHAPTER ONE

GETTING TO KNOW THE LES PAUL

38 TOOLS FOR THE JOB 42 ASSESSING YOUR LES PAUL 46 STRINGS AND STRINGING

12 HISTORY AND EVOLUTION

54 TUNING

16 LES PAUL TIMELINE

56 SIMPLE BRIDGE ADJUSTMENTS

18 LES PAUL GALLERY

62 ADJUSTING THE PICKUP HEIGHT

26 ANATOMY OF A LES PAUL

64 STRAP LOCKS

30 INVENTORY OF LES PAUL PICKUPS

66 CLEANING YOUR LES PAUL

32 HOW YOUR LES PAUL WORKS

72 SIMPLE ELECTRICAL CLEANING 74 STORAGE AND TRANSPORTATION CHAPTER THREE

ADVANCED MAINTENANCE 82 ADJUSTING THE NECK 86 DRESSING THE FRETS 90 ATTENDING TO THE NUT 94 THE TUNE-O-MATIC 96 CHANGING THE TUNERS 98 LOCKING TUNERS 100 ROBOT TUNERS 104 FITTING A BIGSBY 108 COSMETICS

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CHAPTER FIVE

LES PAUL LEGENDS 162 JAN AKKERMAN, DUANE ALLMAN 164 JEF BECK, MIKE BLOOMFIELD, JOE BONAMASSA 166 ERIC CLAPTON, DAVE DAVIES, AL DI MEOLA 168 PETER FRAMPTON, ACE FREHLEY, ROBERT FRIPP 170 PETER GREEN, TERRY KATH, FREDDIE KING CHAPTER FOUR

172 PAUL KOSSOFF, TAK MATSUMOTO,

ELECTRICAL FIXES

JOHN MCLAUGHLIN, GARY MOORE 174 JIMMY PAGE, LES PAUL, JOE PERRY

112 TOOLS AND TECHNIQUES

176 KEITH RICHARDS, MICK RONSON,

116 ACCESSING THE CIRCUIT

SONNY SHARROCK

120 POTENTIOMETERS AND CAPACITORS

178 SLASH, HUBERT SUMLIN, MICK TAYLOR

122 STANDARD AND VINTAGE WIRING

180 PETE TOWNSHEND, ZAKK WYLDE, NEIL YOUNG

124 REPLACING THE OUTPUT SOCKET 126 CHANGING POTENTIOMETERS

CHAPTER SIX

128 SWITCH REPLACEMENT

APPENDICES

130 CHANGING CAPACITORS 134 SWAPPING OUT PICKUPS

184 TALKING HEADS

138 HUMBUCKERS AND SWITCHES

194 DATING YOUR GIBSON LES PAUL

144 KILL SWITCHES AND KILLPOTS

198 DATING YOUR EPIPHONE LES PAUL

146 JIMMY PAGE 21-TONE LES PAUL WIRING

200 RESOURCES/CONVERSION

150 THE “ACOUSTIC” LES PAUL

202 GLOSSARY

152 ADDING MIDI TO YOUR LES PAUL

204 INDEX

154 HUM CONTROL

208 ACKNOWLEDGMENTS

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THE LATE STARTER: GIBSON LES PAUL Gibson launched the Les Paul in 1952 as a slightly reluctant response to Leo Fender’s Telecaster. In spite of a sumptuous look, a unique sound, and periodic updates, it simply failed to appeal to America’s new breed of electric guitarists. After eight years, in which it found only a handful of high-profile users, the Les Paul was dropped from production. That should have been the end of the story. Yet what might have been just a footnote in the history of the electric guitar would eventually become one of the most significant instruments in the evolution of rock music.

A CHECKERED PAST It’s curious to consider that in spite of six decades of technological development and shifting musical landscapes, that the most popular electric guitars sold today also happen to be among the earliest solidbody electric designs. Leo Fender’s pioneering Broadcaster/Telecaster that kicked off the revolution in 1950 remains a popular workhorse instrument, found in every musical genre; his iconic Stratocaster, which

“They are beyond perfect. The Les Paul embodies all the greats—everybody who was ever worth a shit played Les Pauls.” Zakk Wylde followed four years later, is arguably the most famous electric guitar of all time; and then there is the Gibson Les Paul, the one that almost got away. (And let’s not forget that the final member of the elite Big Four of the electric guitar world is Gibson’s SG, the model that superseded the Les Paul when it was dropped from the production line.) The Les Paul was, of course, rediscovered in the middle of the 1960s by a new generation of young blues-rock players, such as Keith Richards, Eric Clapton, and Jeff Beck, their enormous popularity and critical acclaim resulting in a massive surge in demand for secondhand Les Pauls. In 1968, Gibson responded to this unexpected situation by resuming production. Although these relaunched Les Pauls are generally not well regarded by connoisseurs of the originals, they nonetheless sold in huge numbers. Against all the odds, the Les Paul would be one of the biggest-selling electric guitars over the next five decades, gradually achieving a similar iconic status as those early Fender models. What’s at the heart of this enduring popularity? For most players it’s all about the sound. There’s that soft, rich, “fat” humbucker tone that just sounds so correct when played at volume through something like a Marshall Stack. And there’s the classic Gibson craftsmanship that, when strapped on, gives the guitar an almost sculptural feel. And, let’s be honest, it also looks pretty hot!

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As a teenager, unable to afford any sort of electric guitar and inspired by the story of Brian May from the band Queen building the celebrated “Red Special” with his father, this is exactly what I set out to do one school holiday. It was pretty demanding stuff for someone with little experience of building anything at all, but with some help, within a couple of weeks, my dad and I had something that looked a bit like a guitar and also made a sound when—in the absence of a proper amplifier— it was plugged into our home hi-fi. (In fact, it made such a sound that we blew the tweeters in our loudspeakers.) I was proud of this first effort, but the body—very thick Zakk Wylde, one of the Les Paul’s finest modern-day

plywood and fiberboard glued together (so that it didn’t need to

exponents, is typically blunt in his praise of the guitar: “They are beyond perfect. The Les Paul embodies all the greats— everybody who was ever worth a shit played Les Pauls.” Looking back at his transition from a Fender Telecaster to a Gibson Les Paul between the first two Led Zeppelin albums, Jimmy Page later mused: “It’s hypothetical, but I may not have come up with the riff from ‘Whole Lotta Love’ on the Telecaster. That fat sound on the Les Paul . . . suddenly you’re inspired . . . I know other people are inspired by the sound of particular instruments, suddenly they’re playing something they haven’t played before.”

CONTRAST IN CRAFTSMANSHIP The Gibson Les Paul differs from its popular Fender counterparts in several ways, most notably in the sophistication of its construction. The body isn’t simply a slab of wood but a sculpted piece of mahogany with a carved ash top fitted. And the neck is not simply fixed in place with four bolts, as it is on a Fender, but jointed and glued—many believe this improves sustain and is fundamental to the Les Paul sound. Once you factor out the fine craftsmanship, however, what you’re left with is a relatively simple piece of equipment—as you can see if you look at the exploded view of both Gibson and Epiphone Les Pauls in the next chapter (see pages 26–29). Indeed, reassembling those components is not a vastly difficult task. This is part of the appeal of the electric guitar—it is fundamentally so simple and logical that it really is not difficult to understand how everything works. In truth, anyone who has a reasonably well-kitted workshop, basement, or garage, and possesses some modest carpentry skills and the ability to wield a soldering iron, has the basic capabilities necessary to construct a guitar of their own—even if it may not be quite up to standards of the Gibson factory in Nashville.

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”That fat sound on the Les Paul . . . suddenly you’re inspired.“ Jimmy Page be routed)—was so unbearably heavy that it was impractical

a sense of fearlessness which has meant that not only have I

to hang from a strap. A period of experimentation followed,

always been able to set up and maintain my own guitars, but

as new bodies were attempted from different materials. After

I’ve also never shied away from experimentation, replacing

one horribly unsuccessful effort using black Perspex (which

pickups or altering the circuitry. And the guitar-building bug

looked truly spectacular but snapped at the neck joint as soon

remains with me to this day. (My own take on the Fender

as the strings were tightened), I discovered by trial and error

Custom Shop’s Bajo Sexto—a hollow-body baritone

that mahogany produced the best balance between weight

Telecaster—is a recent addition to the ever-growing family.)

and sound. Eventually, the owner of a local music store convinced me

SO WHAT IS THIS BOOK ABOUT?

that my low-output, hand-wound pickups (three little

Firstly, it’s to arm you with the knowledge that you need to

magnets and some copper wire, all held together using a

look after your Gibson or Epiphone Les Paul—basic things

bottle of my mother’s nail polish) were no match for the used

like how to string it and tune it, how to store it, how to clean

DiMarzio Super Distortion humbuckers that he happened to

it, and how to transport it safely. Some of this may seem like

have laying around.

common sense, and yet, to give an example, you would be

My guitar—christened “The Poser” by a friend (you can

surprised at how many experienced guitarists don’t seem to

see it on page 208 if you’re interested)—may not have been

understand that a poor stringing technique is one of the main

the greatest instrument ever built, but it did get plenty of

causes of a guitar failing to stay in tune.

comments whenever I used it on stage, and it eventually

Secondly, it’s to show you how to adjust your guitar so that it not only plays as well as it can, but is tailored to your

graced a good half dozen albums. I’ve since owned numerous “proper” guitars and spent

own preferences. It’s surprising that so many players seem so

much of the past twenty years recording with them and

reluctant to tinker with the action of their guitars (the height

writing books about them, but that early experience gave me

of the strings above the fingerboard), the intonation (the scale length of each string), or the neck relief (the curvature of the neck). This book will show you in detail how to do all of these things safely. Of course, if your guitar receives heavy use, you can expect something to go wrong with it at some stage in its life. So the third area we’ll look at is how to perform basic repairs. This can mean anything from fixing or replacing broken tuners or electrical components, to replacing nuts and frets, to tips for getting rid of crackle and hum. Finally, there’s an assortment of ideas for hotrodding your Les Paul. These may be simple wiring changes, pickup replacements or, in a few extreme cases, modifications that require you to cut into the body or pickguard. Of course, the decision as to how far you want to go in this respect is very much up to you—certainly no one’s going to force you to rip

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your Les Paul apart. But even if you do strip your guitar down to its bare components, you’ll certainly find all the information you need to put it safely back together. There’s also some nice contextual stuff—background history on the Les Paul, different models available, how to work out the age of your guitar from the serial number, interviews with some experts, and profiles of some of the musicians famed for playing this great instrument.

NO EXPERIENCE NECESSARY Here is one final note about the skills and equipment needed throughout this book. Many of the assumptions made here come from my own inexperience when I set out to build my first guitar. The book assumes you to have no arcane skills or complex specialist equipment on hand. You’ll need some basic tools (see pages 38–39), such as screwdrivers, wrenches, drills, knives, and saws. And to work on the circuitry, you’ll need to have a soldering iron. (Don’t worry if you’ve never used one before—we’ll show how to do that, as well as how to use a multimeter to test the results.) Any materials you need to get hold of can usually be found in hardware or music stores or, of course, online. Every musician forges a special bond with his or her favorite instruments. For me, a willingness to get “under the hood” has not only enhanced these relationships but also given an added personal dimension to my playing. Ultimately, though, it’s really all about having fun. Indeed, it’s like the great man, Les Paul, himself once told me: “You don’t work the guitar, you play it!” Terry Burrows London, 2015

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G K L

Th in ill an h G co

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1 GETTING TO KNOW THE LES PAUL The Les Paul is frequently referred to as an iconic or legendary instrument, and there’s no doubting that it certainly has taken an illustrious role in music over the past fifty years. The Les Paul also has an interesting history—a guitar, perhaps, ahead of its time, one that had to wait a generation to be appreciated. This chapter introduces the Gibson Les Paul, its history and evolution, and breaks it down into the component parts that combine to create such a unique sound.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

HISTORY AND EVOLUTION Even though it’s now considered one of the greatest guitar designs of all time, the Gibson Les Paul emerged from undistinguished beginnings. Indeed, barely a year before its launch in 1952, Gibson had been skeptical about the very idea of a solidbody electric guitar.

THE KID WITH THE BROOMSTICK The electrification of the guitar in the 1930s had radically changed the instrument’s use in band settings. The acoustic guitar had always struggled to compete with the much louder drums and horns, but amplified it could now be heard clearly. This ushered in the first generation of virtuoso electric guitar soloists, the most important of whom was Charlie Christian; using Gibson’s ES-150 hollow-body electric model, the first genuinely important electric guitar, between 1939 and his tragic death in 1941, Christian defined the role of the electric guitar in music. Another early convert to the electric guitar was a young

1952 ad for the Gibson Les Paul Goldtop

player named Les Paul, who made a name for himself in the early 1940s backing the popular singer Bing Crosby. Not only

declaration. In this new instrument Gibson’s management

a musician, but also an innovative engineer, Paul was

saw none of the skilled craftsmanship for which their own

frustrated by issues of howling feedback. This problem was

hollow-body archtop guitars were so prized. Founded on a

caused when the sound coming from the loudspeaker in his

classical tradition in 1904, Gibson had applied the age-old

amplifier was loud enough to vibrate the sound box—the

principles of violin construction first to mandolins and then

hollow body—of his guitar, in turn, making the guitar strings

to the guitar. By comparison, Fender’s Broadcaster (which

vibrate by themselves. Paul, among others during this time,

shortly afterwards was renamed the Telecaster) seemed to be

thought that the cure lay in creating a body that was less

no more than a flat slab of ash with a neck bolted on the end.

prone to vibration or a guitar with a solid piece of wood

This attitude quickly turned around when the Telecaster

replacing the sound box. Paul’s idea was to fix a neck to a

started to appear on television in the hands of country

narrow block of pine on which the bridge and pickups were

guitarist Jimmy Bryant, who was billed as “The Fastest

also mounted. Certain he had a winning idea, he arranged to

Guitar in the Country.”

demonstrate what became known as the “Log.” “When I took it to Gibson around ’45 or ’46 they politely

Since first demonstrating the “Log,” Les Paul had become a celebrity in his own right, enjoying a run of international hit

ushered me out the door. They called it the broomstick with

records with his wife, Mary Ford; the couple even starred in

the pickups on it,” he recalled three decades later.

their own syndicated radio and television shows. To many of

Even when Leo Fender began making waves with the first

America’s popular music fans, Paul, with his clever studio

ever production-line solidbody electric guitar in 1950, Gibson

trickery that utilized his own home-built tape recorder

was unimpressed. Viewing the first Fender Broadcaster at a

overdubbing equipment, was nothing less than a wizard of

trade show in California, their reaction was reputedly a mix

the guitar. Gibson recalled Paul with a view to fronting the

of skepticism and mockery. “Anyone with a buzz saw in their

company’s first ever solidbody electric guitar. The instrument

garage could make one of these,” came an apocryphal

would be named the Les Paul model.

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HISTORY AND EVOLUTION

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The who-did-whats of the design process are now lost in a murky history of contradictory accounts. Although early advertising declared the instrument to have been “designed by Les Paul, produced by Gibson,” the guitarist’s role was probably more consultative, even though claims that he worked on aspects of the bridge and tailpiece seem more credible. In truth, in spite of Les Paul’s undoubted importance as an innovator, it’s more likely that Gibson wanted him as the public face of what they hoped would be a game-changing new instrument simply because he was, then, America’s best known guitarist.

THE GOLDEN GUITAR Launched in 1952, the Les Paul model had a bright gold finish (which Paul always maintained was his idea) and was equipped with a pair of the single-coil P-90 pickups. This Les Paul model is now uniformly referred to as the Goldtop. Retailing at around two hundred twenty-five dollars (which would be worth something like two thousand dollars today), it was considerably more expensive than its rival, the Fender Telecaster. This was hardly surprising, though: with its arched

The first two Les Paul models—the 1952 Goldtop (left) and the 1954 Custom (right)

Gibson made a number of design tweaks to the Les Paul in

maple top, mahogany body, jointed and glued neck, and

its infancy, replacing the original “trapeze” bridge and

back-angled headstock, a Les Paul required far finer

altering the depth of the neck angle to improve the action.

craftsmanship to produce and took a good deal longer.

Yet the Goldtop was always something of an ugly sister; unloved at the time, it still remains less valued by collectors than those produced later in the decade. Gibson added two new lines to the range in 1954. The cheaper, simpler Les Paul Junior was Gibson’s first “student” electric guitar. And then there was the Les Paul Custom. Featuring a solid mahogany carved arched body in a stunning black finish, with multi-ply binding, ebony fingerboard, and opulent gold hardware, it sold for over three hundred dollars, and would quickly acquire the nickname the “Black Beauty.”

THE CLASSIC SOUND A hugely significant change took place to the two main Les Paul models in 1957. The single-coil P-90 pickups, a staple of Gibson electric guitars since 1946, was replaced with the company’s first humbucker—three of which were now offered as standard on the Custom. Developed at Gibson by Seth Lover, the PAF (“Patent Applied For”) used twin coils to reduce electrical interference and hum. As a by-product, it also produced a rich, thick sound that would later be closely associated with the Les Paul. Gibson finally abandoned the Goldtop in 1958. The basic Les Paul model was instead given a sunburst finish. Produced Les Paul in the studio in 1955 with a Les Paul Custom

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until 1960, but widely ignored at the time, these are now the

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

blues music from young, white (predominantly middle-class, and college educated) musicians on both sides of the Atlantic. In 1964, the Rolling Stones—who at this time exclusively played blues cover versions—even took Willie Dixon’s “Little Red Rooster” to the top of the UK hit parade. But it was two blues guitarists, both barely in their twenties, that stood out from the crowd, and who would be a massive influence both on their peers and on the generation that followed. And they both played Les Pauls. In America, Mike Bloomfield had made his name playing a Telecaster with the Paul Butterfield Blues Band as well as on sessions for Bob Dylan—not least of all on his “electric” debut at the Newport Festival. On the other side of the Atlantic a teenage Eric Clapton had built up a formidable reputation as Britain’s leading blues player with the Yardbirds. When the group found success with a more commercial pop sound, Clapton left the band to join up with John Mayall’s Bluesbreakers. In 1965, both Clapton and Bloomfield acquired Gibson Les Pauls. A year later, both would make seminal recordings in the field of blues-rock 1978 magazine ad depicting Pete Townshend of the Who about to smash his Les Paul Deluxe on stage

using sunburst Standards. These guitars quickly became the most sought-after instruments on the used market. Clapton made a particular impression, discovering that the

most collectible production electric guitars ever made.

humbuckers of his 1960 Les Paul sounded particularly rich

According to Gibson’s shipping records, these instruments

and sweet through the new generation of high-powered

were made in small quantities (1958: 434, 1959: 643, 1960:

Marshall amplifiers produced in Britain. It remains an

635), and now change hands for six-figure sums . . . seven if

absolutely classic combination. Within a few years, such

once owned by a celebrity. This type of model is now known

celebrated names as Jeff Beck, Peter Green, Jimmy Page,

as the Standard.

Duane Allman, and Paul Kossoff had all emerged using that

The year 1960 saw Gibson giving up on the original Les

same Les Paul/Marshall pairing.

Paul range. As the 1950s had progressed, the easy-listening sound of Les Paul and Mary Ford became increasingly

THE NEW ERA

irrelevant with the ascent of rock ’n’ roll. And although only

The sudden interest in an out-of-production guitar seems not

in production for eight years, the Les Paul was also beginning

to have reached the Gibson headquarters in Kalamazoo,

to seem a little old fashioned.

Michigan, too swiftly, and it was not until 1968 that two

A sleek, modern guitar with a double cutaway was

“new” Les Paul models were introduced. First was a Goldtop

launched in 1961 as the Les Paul SG (“Solid Guitar”). Paul

kitted out with the original P-90s pickups; the other was a

himself didn’t care for the design and asked Gibson to remove

two-pickup Custom with humbuckers—a configuration that

his name. The SG was an immediate success—the Standard

had never before appeared. The Gibson press made great play

model remains Gibson’s biggest-selling electric guitar ever. At

of the guitar’s recent history: “The demand for them just

this point, nobody expected the Les Paul to be any more than

won’t quit. And the pressure to make more has never let up.

a footnote in the company’s illustrious history.

OK, you win! . . . Form lines at your Gibson dealer!”

THE BLUES REVIVAL

to keep up with demand. By the end of the year, over a

It was a curious set of circumstances that led to the

hundred Les Pauls were being built each day—more than a

renaissance of the Gibson Les Paul. During the first half of

third of the Kalamazoo factory’s total output. It has remained

the 1960s there was a huge surge of interest in American

in production ever since.

So popular were these new models that Gibson struggled

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HISTORY AND EVOLUTION

In 1969 Gibson was taken over by the conglomerate ECL,

15

students at Harvard Business School. Under their

who made the brand a subsidiary of Norlin Musical

management the Gibson Guitar Corporation was formed.

Instruments. There followed an era of rationalization that

Within a decade, Gibson had once again become a major

was anathema to many long-standing Gibson craftsmen. The

force in the guitar world; in addition to the Epiphone brand,

Les Paul range expanded rapidly, with models such as the

which it acquired in 1957, the company now also owns such

Deluxe with its unpopular mini-humbuckers. The Norlin era

other venerable brands as Baldwin, Steinberger, Kramer,

has been characterized as a textbook case of corporate

Slingerland, and Wurlitzer.

mismanagement, a time during which—much like Fender’s CBS period—there was a clear decline in quality. To cut

THE MODERN GIBSON

production costs, new construction techniques were

The past three decades has seen a huge growth in demand for

introduced. The solid mahogany and maple tops formerly

both heritage and signature instruments. By 2015, the

used on Les Pauls were replaced by “multi-piece”

company was offering over one hundred variations of the Les

constructions, the body built from smaller slabs.

Paul, either as standard “Gibson USA” models or limited-run

Furthermore, dwindling stocks of the lighter mahogany

instruments produced by the Gibson Custom Shop. With

traditionally used by Gibson meant that Les Pauls became

many periodic variations applied to Les Pauls over the past

gradually heavier, resulting in the introduction of chambered

six decades, numerous reproductions of classic historical

bodies for weight relief in the early 1980s.

models from a specific year have been produced. More

The Norlin era came to an abrupt end in 1986 when, in

recently, we have seen the vogue for “age-worn” guitars—

dire financial trouble, Gibson was bought out by Henry E.

brand new instruments that have been cosmetically treated to

Juskiewicz, David Berryman, and Gary Zebrowski, three

look as if they’ve endured fifty years of wear and tear. Some

guitar lovers who had met the previous decade while graduate

of the signature Les Pauls have gone to considerable lengths to recreate original modifications made to an instrument—the reissue Mike Bloomfield 1959 Standard, launched in 2009, was aged, with mismatched volume and tone knobs, missing toggle switch cover, and the same type of Grover tuners that Bloomfield had fitted to replace the original Klusons. Like its great rival Fender, Gibson now rarely launches a new electric guitar design, concentrating instead on models that first appeared more than forty years ago. The company still maintains a long-held position of innovation, however, namely through its range of “robot” guitars, that apply cutting-edge technology—automated tuning and onboard sound-processing, for example—to classic designs. Of course, there is no such thing as a cheap Gibson Les Paul, and even the most basic model will set you back over a thousand dollars. For those unable or unwilling to pay that much for a guitar, Gibson’s Epiphone subsidiary brand produces its own Les Paul models. Built outside of the United States, some of these “Epis” are aimed squarely at the beginner; at the opposite end of the scale, the Epiphone Elitist range and some of its signature models offer a comparable quality to a Gibson at a fraction of the price of the real thing. The music world is notoriously fickle, and trends come and go at a rapid pace. Yet the Les Paul has shown itself to be one of the most versatile of electric guitars, finding a home in every possible genre of music. And that’s a state of affairs that

1995 ad for the Jimmy Page signature model

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doesn’t look much like changing at any time in the future.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

LES PAUL TIMELINE

Gibson’s classic single-coil pickup.

First Gibson Les Paul model.

From its beginnings in 1952, the Les Paul has LES PAUL (Goldtop) (1952)

P-90 PICKUP (1946)

evolved in a variety of interesting ways. Yet if you compare the earliest Goldtop to the most recent “robot” models, you can see the essence of the

TUNE-O-MATIC BRIDGE (1954)

LES PAUL “LOG” (c.1945)

original design has changed very little over the course of more than six decades.

Les Paul’s experiment in creating a solidbody electric guitar.

Ted McCarty’s fully adjustable bridge mechanism.

The SG was initially called the Les Paul SG until the guitarist asked for his name to be removed.

Revamped Les Paul Junior with twin cutaways.

The revived Goldtop. Not known as the Standard until 1976.

LES PAUL JUNIOR “DOUBLECUT” (1959)

LES PAUL STANDARD (1968)

LES PAUL SG (1961)

LES PAUL CUSTOM (1968)

GIBSON ENDS PRODUCTION OF ALL LES PAULS (1960)

Gibson relaunched its Les Paul line with Standard and Custom models.

Introduction of Gibson’s Heritage series, reproducing classic models from the late-1950s.

LES PAUL HERITAGE STANDARD 80 (1980)

LES PAUL SPOTLIGHT SPECIAL (1983)

The first new Les Paul model, fitted with the narrower minihumbucker.

Collaboration with Chevrolet using designs and colors from a 1960 Corvette car.

FOUNDATION OF GIBSON GUITAR CORPORATION (1986)

FIRST EPIPHONE LES PAUL (1989)

Gibson Custom Shop special model with walnut stripe at the center of the body. Only 211 of the original run were built.

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LES PAUL DELUXE (1969)

Stripped-back Les Paul with the hardware and construction of a Standard but without the cosmetic finesse and binding.

LES PAUL STUDIO (1983)

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ECL/NORLIN TAKES OVER GIBSON (1969)

LES PAUL ‘60s CORVETTE (1995)

JIMMY PAGE SIGNATURE LES PAUL STANDARD (1995)

Although Epiphone had sold Les Paul–style guitars in the past, this Korean model was the first licensed by Gibson bearing the Les Paul signature.

The first Les Paul signature model, based on the “Number Two” guitar of Led Zeppelin's Jimmy Page.

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LES PAUL TIMELINE

Flagship Les Paul model known as “Black Beauty.”

First humbucking pickup, developed for Gibson by Seth Lover. PAF stands for “Patent Applied For.”

Twin-pickup version of Les Paul Junior.

LES PAUL CUSTOM (1954)

LES PAUL SPECIAL (1955)

PAF HUMBUCKER GIBSON TAKES OVER (1957) EPIPHONE (1957)

LES PAUL TV (1955)

LES PAUL JUNIOR (1954)

17

LES PAUL STANDARD (1959)

Les Paul Junior with color designed not to reflect on television.

Les Paul model that replaced the Goldtop. Only subsequently known as the Standard.

Single-pickup student guitar.

Hollow-body Les Paul with low-impedance pickups.

Professional with built-in microphone input.

The first Les Paul short-scale bass guitar.

Ornate Les Paul Custom.

LES PAUL BASS (1969)

LES PAUL PERSONAL (1969)

LES PAUL SIGNATURE (1974)

LES PAUL RECORDING (1972)

LES PAUL PROFESSIONAL (1969)

Low-impedance model designed for plugging directly into a studio mixing console. Special transformer cord required to connect to guitar amplifier.

Model with semi-hollow “tone chambers.”

THE LES PAUL (1976)

Designed with the intention of being able to create any kind of guitar sound.

Very limited edition built from a poplar tree felled in a storm on land once belonging to President Andrew “Old Hickory” Jackson.

LES PAUL ARTISAN (1977)

Limited-edition model that retailed for $3,000. (The Les Paul Custom was at that time listed at $739.)

Robot model with automated tuning and on-board sound processing.

High-end hollow-body model.

LES PAUL CATALINA (1996)

LES PAUL OLD HICKORY (1998)

LES PAUL STUDIO BARITONE (2005)

LES PAUL ULTIMA (1996)

Heavily ornate Les Paul with ornamental trapeze tailpiece and “tree of life” fingerboard inlay.

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Studio model with 28-inch scale length.

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LES PAUL ROBOT (2007)

LES PAUL SUPREME HOLLOW-BODY (2014)

LES PAUL DUSK TIGER (2010)

Robot model, billed on launch as “the world's most advanced guitar.”

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

LES PAUL GALLERY

LES PAUL MODEL (1952)

On the surface, the Gibson Les Paul appears to

Kluson tuners

have changed little since its launch in 1952. While its key features have remained relatively stable there have been plenty of notable changes—the shift from single-coil pickups to humbuckers, for example, as well as a drop in quality characterized by the Norlin era of the 1970s. Here is a selection of some of the key Les Pauls to have appeared over the past six decades. If you take a quick flick through the next eight pages you might think that little has changed in the world of the Les

Single-coil

Paul. Indeed, a few significant developments notwithstanding, it has retained all of its identifiable characteristics—the narrow arched body and elegant single cutaway. And yet we know relatively little about the design process that first brought this iconic instrument into being.

Trapeze

P-90 pickup

combined bridge/tailpiece

On many occasions throughout his life, Les Paul would claim the guitar as his own baby, declaring more than once that he “designed everything on there except the arch top.” Evidence suggests that this really wasn’t the case. Indeed, Gibson’s president at the time, the venerable Ted McCarty, recalled taking a finished prototype to a hunting lodge in Pennsylvania in order to get Les Paul’s approval and draft an endorsement contract. “We spent a year designing that guitar,” he maintained, “and Les never saw it until we took it to Pennsylvania.” McCarty’s account seems the more likely since the general appearance of the Les Paul was well in keeping with Gibson’s hollow-body archtop electric guitars of the period. The ES-175, which would establish itself among jazz players, first appeared in 1949. It featured a single cutaway with a sharply pointed Florentine curve—the first Gibson with this feature. The cutaway of the Les Paul bears more than a little resemblance to that of the ES-175, but with the heavy

DETAIL Mahogany body with maple top; set

Florentine point given a gentle rounded edge. The Les Paul

mahogany neck; rosewood fingerboard; two

Goldtop was also given the same pair of P-90 single-coil

single-coil P-90 pickups; Kluson tuners; crown inlays;

pickups and the same three-way selector switch positioned on

one-piece trapeze bridge/tailpiece.

the upper bout of the body. Indeed, around the same time

NOTES Wrapover bridge/tailpiece introduced

that the Goldtop was launched, Gibson also came out with

(1953); Tune-o-matic bridge and stop tailpiece

similarly finished hollow-body electric ES-295, a clear hybrid

introduced (1955); PAF humbucker pickups

of the ES-175 and the Les Paul.

introduced (1957). Known as the Goldtop.

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LES PAUL GALLERY

LES PAUL CUSTOM (1954)

19

LES PAUL JUNIOR (1954)

Kluson “3-on-a-plate” tuners

Ebony fingerboard

Dot inlays

Block inlays

P-90 pickup with ”dog ear” cover

Wrapover bridge/tailpieces

DETAIL Solid mahogany body; set mahogany neck;

DETAIL Slimline mahogany body; set mahogany

ebony fingerboard; P-90 pickup at bridge; Alnico V

neck; rosewood fingerboard; single P-90 pickup;

pickup at neck; Kluson tuners; block inlays; Tune-o-

Kluson “3-on-a-plate” tuners; dot inlays; wrapover

matic bridge and stop tailpiece.

bridge/tailpiece.

NOTES Three PAF humbucker pickups introduced

NOTES Les Paul TV (as Junior but in yellow finish)

(1957); Grover Rotomatic tuners introduced (1958);

introduced (1955); Les Paul Special (as Junior but

two-pickup version launched in 1968. Known as the

with two pickups) (1955); three-quarter-scale

Black Beauty.

version introduced (1956).

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

LES PAUL STANDARD (1958)

LES PAUL JUNIOR (1958)

Kluson “3-on-a-plate” tuners

Crown inlays

“Cherry burst” body finish Double cutaway (“DC”)

PAF humbucking pickups

DETAIL Mahogany body with maple top; set

DETAIL Mahogany body with twin cutaway; set

mahogany neck; rosewood fingerboard; two PAF

mahogany neck; rosewood fingerboard; one

humbucker pickups; Kluson tuners; crown inlays;

single-coil P-90 pickup; Kluson tuners; dot inlays;

Tune-o-matic bridge and stop tailpiece.

wrapover bridge/tailpiece.

NOTES Frets widened (1959); slimmer neck

NOTES All of Gibson’s other “student” guitars also

(1959–1960). Second version launched in 1976.

become twin cutaway models: TV (1959);

Known as the Sunburst model.

Special (1959).

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LES PAUL GALLERY

LES PAUL DELUXE (1969)

21

LES PAUL RECORDING (1971)

Split-diamond headstock inlay

Mini-humbucker pickups

Low-impedence pickups Tune-o-matic

Long-travel

bridge

bridge

DETAIL Mahogany body with maple top; set

DETAIL Clear Honduras mahogany body; three-

mahogany neck; rosewood fingerboard; two

piece set mahogany neck; rosewood fingerboard;

mini-humbucker pickups; Kluson tuners (later

two low-impedance humbucker pickups; Grover

Gibson Deluxe); crown inlays; Tune-o-matic bridge

tuners; six-saddle long-travel bridge.

and stop tailpiece.

NOTES Featured advanced on-board electrics; four

NOTES The first new “second generation” Les Paul

rotary controls (volume, bass, treble, decade);

to be launched; truss rod cover marked “Deluxe.”

phase switch; impedance switch.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

LES PAUL SIGNATURE (1974)

THE LES PAUL (1976)

Gibson tuners

Rosewood fingerboard

“F” hole

Handmade wooden scratchplate, pickup Low-impedence

rings, and knobs

mini-humbuckers

DETAIL Thinline hollow-body mahogany body with

DETAIL Mahogany body with Austrian flame maple

twin cutaways and two f-holes; set mahogany

top, back and side; set flame maple neck; ebony

neck; rosewood fingerboard; two low-impedance

fingerboard with rosewood center; “Super

mini humbuckers; Grover tuners; six-saddle long-

Humbucking” pickups; Gibson tuners; knobs,

travel bridge.

scratchplate, pickup rings handmade in wood.

NOTES Available 1974–1979—less than 1,500 built,

NOTES Produced at Gibson’s Kalamazoo plant.

70 percent of which were in 1974.

(All other Les Pauls at this time built in Nashville.)

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LES PAUL GALLERY

LES PAUL JIMMY PAGE (1995)

23

LES PAUL ULTIMA (1996)

Grover “kidney”

Grover Imperial

tuners

tuners

Abalone “tree-of-life” inlay Jimmy Page signature Loop trapeze tailpiece

DETAIL Mahogany body with AA-figured maple top;

DETAIL Chambered mahogany body with flame

set mahogany neck; rosewood fingerboard; 496R

maple top; one-piece set mahogany neck; ebony

and 500T humbucking pickups; Grover kidney tuners

fingerboard; 57 Classic humbuckers; Grover

(later Kluson tulip); Tune-o-matic bridge/tailpiece.

Imperial tuners; Tune-o-matic with Ultima loop

NOTES Reproduction of Jimmy Page’s 1959 “Number

trapeze tailpiece.

Two” Les Paul Sunburst Standard. Scratchplate has

NOTES Fingerboard features ornate ”tree-of-life”

Jimmy Page’s signature.

abalone inlays.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

LES PAUL DELUXE (2005)

LES PAUL ROBOT (2007)

Robot tuners

DiMarzio center humbucker

Master control

“Number 1”

knob (“MCK”)

decal

DETAIL Mahogany body; poplar back; three-piece

DETAIL Mahogany body with maple top; set

maple top; three piece maple neck; set mahogany

mahogany neck; ebony fingerboard; 490R

neck; rosewood fingerboard; two mini-humbuckers;

humbucking pickup (neck); 498T humbucking pickup

DiMarzio Dual Sound in center position; Grover

(bridge); Gibson Robot tuners; Tune-o-matic bridge

kidney tuners; Tune-o-matic bridge.

and tail stop.

NOTES Reproduction of Pete Townshend’s

NOTES Unique “Blue Silverburst” finish; automated

“Number 1” Les Paul Deluxe.

tuning and intonation.

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LES PAUL GALLERY

LES PAUL ZAKK WYLDE BFG (2009)

25

EPIPHONE ”MATT HEAFY“ (2014)

4x3 tuner

Grover “kidney”

arrangement for

tuners

seven strings

EMG active pickups

Zakk Wylde

Tone control

bullseye design

doubles as a killpot

EMG active pickups

DETAIL Mahogany body with maple top; set three-

DETAIL Mahogany body with maple top; set

piece maple neck (mortise and tenon joint); ebony

mahogany neck; ebony fingerboard; active EMG

fingerboard; active EMG-81 pickup (bridge); active

81-7 (bridge); EMG-707 pickup (neck).

EMG-85 (neck); Grover kidney button tuners;

NOTES Epiphone Les Paul seven-string signature

Tune-o-matic bridge (platinum plated zamak).

Les Paul model produced for Trivium’s Matt Heafy;

NOTES Available either in bullseye or buzz saw

features active circuitry with killpot built into the

body design.

neck tone control.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

ANATOMY OF A LES PAUL While there may be small variations between different models, the exploded view here shows the basic makeup of a Les Paul—which remains pretty much the same as when it first appeared in 1954. In fact there is a surprisingly small number of components—fewer than one hundred twenty in all—that combine to make up a Gibson or Epiphone Les Paul.

Tailpiece studs/bushings

Strap buttons

Tune-o-matic bridge saddle

Tailpiece/stop bar Bridge studs/bushings

Humbucking pickups

Control knobs

Switch surround plate

Pickguard bracket and screws Pickup selector switch

Pickguard Output socket

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ANATOMY OF A LES PAUL

27

Headstock

Truss rod cover

Strings

Fret Nut Inlays Volume and tone potentiometers

Capacitors

Connecting cable

Cutaway Upper bout Switch cavity Tuners

Humbucker cavity

Ferrules

Body

Lower bout

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

BRAND COMPARISON

In truth, it’s difficult to make a like-for-like qualitative

Although they look superficially similar, unsurprisingly there

comparison between Gibson and Epiphone guitars. As far as

are areas where the Gibson and Epiphone Les Pauls differ.

“spit and polish” is concerned, the craftsmanship, quality of

With a few notable exceptions—for example, the quirky

woods, and finish on Gibsons will doubtless be of a higher

1970s Marauder—Gibson guitars have always featured “set”

standard, and more care tends to be taken with fret dressing

necks permanently glued in place. This improves sustain and

and setup. When it comes to sound, however, things are less

tone over instruments with bolt-on necks. The downside is

clear cut. While the cheaper Epis are equipped with ceramic

that neck repairs are more difficult and will generally require

humbuckers that lack the power and finesse of their alnico-

specialist attention. While many of the Epiphone Les Pauls

equipped equivalents at the top end, the specifications can be

and signature models are also constructed with a set neck,

surprisingly similar. The price will certainly differ, though—

the lower-priced models, for example the LP-100 (see below),

there’s definitely a premium to be paid when the word

are fitted with a Fender-style bolt-on neck.

“Gibson” appears on a headstock.

2015 Epiphone Les Paul LP-100

2014 Gibson Les Paul Studio Pro

Bolt-on neck Set neck Neck plate Switch cover plate

Back cover plate

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ANATOMY OF A LES PAUL

29

THE EPIPHONE TALE These days, Epiphone is best known as a Gibson

former rivals Gibson, and production was moved to

diffusion brand specializing in the production of

the main plant in Kalamazoo, Michigan.

low-cost Asian-built versions of classic Gibson

Throughout the 1960s. Gibson allowed the brand

designs, most commonly the Les Paul and the SG. In

to maintain a clear identity, producing outstanding

fact, the Epiphone name has a hugely distinguished

and now highly collectible solidbodies, such as the

history, with 1930s archtop acoustics every bit a

Crestwood and Wilshire models.

quality match for the Gibson models of the period.

By far the best-known post-Gibson Epiphone

Indeed, the two companies fought a commercial

model, however, is the Casino hollow-body electric.

rivalry as fierce as those later waged between

Although modeled directly on the Gibson ES-330,

Gibson and Fender.

the Casino was a favorite of no less a band than

Anastasios Stathopoulo began producing musical

the Beatles, and was used extensively on their later

instruments in 1873 in his native Smyma in the

recordings—indeed, John Lennon, Paul McCartney,

Ottoman Empire (now the city of Izmir in Turkey). In

and George Harrison all owned Epiphone Casinos.

1903 he emigrated to Long Island, New York, where

Toward the end of the of the 1960s, Gibson

he continued to make stringed instruments until his

gradually shifted towards producing Epiphone

death in 1915. The business was taken over by his

guitars outside of America, first manufacturing in

son, Epaminondas—known locally as “Epi”—who

Japan and, by the end of the 1970s, in Korea. But

focused the business first on building banjos, and

gone were the unique designs, the Epiphone brand

then, in 1928, introduced guitars to his product line.

now gracing budget versions of classic Gibsons.

It was at this time that he began using Epiphone as

The last two decades has seen Epiphone playing

a brand name—a combination of his nickname and

an increasingly important role in Gibson’s business,

the Greek word “phone,” meaning sound or voice; it

not only selling huge numbers of familiar designs

was also intended as a play on the word “epiphany.”

to beginners—or players either unable or unwilling

By 1932, Epiphone was exclusively manufacturing

to buy an expensive Gibson—but also embracing

guitars, producing some of the most luxurious, high-

the history of the brand, reissuing Epiphone designs

quality archtop instruments in the United States—

from the past—not only the popular electrics of the

period models such as the Deluxe and Emperor are

early 1960s, but acoustic models of earlier decades.

now highly prized collectors pieces. When Rickenbacker introduced the first guitars with magnetic pickups in the early 1930s, Epiphone beat Gibson to the market with the Electrophone lap steel, which launched in 1935 and featured a huge horseshoe-magnet pickup that was wrapped around the strings. A few years later this became the Electar range, which included conventionally sized guitars. Hostilities between Epiphone and Gibson fell away during World War II, when resource scarcity brought guitar production to a near halt. When Stathopoulo died in 1943, the company lost its driving force, and control of Epiphone passed to his younger brothers. Struggling to rebuild the business after the war years, a bitter labor strike in the mid-1950s ended with the family closing the New York factory and moving to Philadelphia. In a dire financial state, in 1957 Epiphone was bought out by

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2015 Epiphone Casino

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

INVENTORY OF LES PAUL PICKUPS We tend to think of Les Paul pickups as having been a broad choice between a small number of single-coil P-90s, and a vast majority of twin-coil PAF humbuckers. Here is a gallery of Gibson’s principle pickups used with past and present Les Pauls.

THE LES PAUL AND ITS PICKUPS

are still widely known as “Charlie Christians.” The P-90

The original Gibson P-90 single-coil pickup was created to

(with or without the “dog ears”) was Gibson’s main pickup

replace the “hex bar” design used on Gibson’s early

from the late-1940s until 1957, when Seth Lover’s PAF

hollowbody electrics, such as the groundbreaking ES-150,

humbuckers were first used. The Les Paul was out of

famously used by jazz pioneer Charlie Christian. (Indeed, so

production from 1960 to 1968, and by this time the PAF had

strong is his association with this guitar that these pickups

itself been replaced by the so-called “T-Top” humbucker.

P-90

PAF Humbucker

Type: Single-coil

Type: Twin-coil

Magnet: Alnico III (early); Alnico V (later)

Magnet: Alnico II, III (early); Alnico V (later)

Pole pieces: Individual adjustable

Pole pieces: Six fixed; six adjustable

Resistance: 7.5–8.5 KW

Resistance: 7.25–9.0 KW

Sound: Thick with powerful mid-range and

Sound: Warm and rich but capable of powerful

cutting top end

bite at the neck

GIBSON T-TOP

GIBSON MINI-HUMBUCKER

Type: Twin-coil

Type: Twin-coil

Magnet: Alnico V

Magnet: Alnico V

Pole pieces: Six fixed; six adjustable

Pole pieces: Individual adjustable

Resistance: 7.5–8.5 KW

Resistance: 6.5–7.5 KW

Sound: Thick with powerful mid-range

Sound: Bright and cutting

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INVENTORY OF LES PAUL PICKUPS

This is the pickup that appeared on the first of the

made from 1958 to 1960, and that had been heard in the

“Standard” Les Pauls that appeared after the relaunch. At the

hands of players like Jeff Beck, Eric Clapton, and Jimmy

same time, the Les Paul Deluxe was kitted out with the mini-

Page. Gibson began producing a new generation of PAF-

humbucker, the design of which harked back to Gibson’s

inspired humbuckers to meet this demand.

takeover of Epiphone a decade earlier. Producing a much

31

Since the characteristics of the PAF pickup changed

brighter sound than that associated with the PAF, these were

considerably throughout its original life, in terms of magnets

not generally popular—even if they found favor with Pete

selected and number of windings used, there really is no

Townshend of the Who.

definitive PAF. Since that time, Gibson have produced a wide assortment of humbuckers based around PAF designs from

RETURN OF THE PAF

different periods, among them the popular ’57 Classic which

By the start of the 1970s, the sound that most Les Paul

is based on the specification of the PAF when it was first

players chased was that of the legendary “golden-era” models

introduced in 1957.

GIBSON DIRTY FINGERS

GIBSON ‘57 CLASSIC

Type: Twin-coil

Type: Twin-coil

Magnet: Three ceramic bars

Magnet: Alnico II

Pole pieces: Twelve individually adjustable

Pole pieces: Six fixed; six adjustable

Resistance: 16 KW

Resistance: 7.8–8.1 KW

Sound: Aggressive compressed sound, based

Sound: Based on first generation of PAF

on Gibson 1970s design

humbuckers built in 1957

GIBSON BURSTBUCKER

GIBSON 490R/490T

Type: Twin-coil

Type: Single-coil

Magnet: Alnico II

Magnet: Alnico II

Pole pieces: Six fixed; six adjustable

Pole pieces: Individual adjustable

Resistance: 7.5–8.2 KW

Resistance: 7.5–9 KW

Sound: Warm, based on later PAF design

Sound: Thick and creamy

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

HOW YOUR LES PAUL WORKS Electric guitars are relatively simple pieces of technology. Over the next few pages we’ll take a look at some of the underlying principles behind the way a Les Paul—or indeed any other electric guitar—works.

FIRST PRINCIPLES The heritage of all stringed instruments can be traced back to the musical bow, pictorial evidence of which has been found in cave paintings in France dating back more than fifteen thousand years. Similar in design to a hunting bow,

Variations on the musical bow are still widely used in

it featured a string made from animal intestines stretched

traditional music across the globe.

tightly between the ends of a curved piece of wood, cut from the branch of a tree. The string would have been plucked

Wave A

by the fingers or struck with a piece of wood or stone. different pitches could be played. This is the basic principle governing the way all guitars work.

AUDIO FREQUENCIES Whenever a tightened string is struck, the specific pitch of

Amplitude

By holding down the string along the length of the bow,

the note you hear is determined by the frequency at which

Time

it vibrates. This is known as the note’s fundamental. If you shorten the length of that string, or increase the tension, the

Wave B

frequency will be increased, raising the pitch of the note. frequency/pitch of the note you hear will be lowered. (This “golden rule” for waves can be expressed as v = lf where “v” is the speed, “l” (lambda) is the wavelength, and “f” is the frequency.) In the West, we have a specific relationship between these frequencies and the names we give to the notes from A to G,

Amplitude

Conversely, if the string is lengthened or slackened, the

Time

which is referred to as concert pitch. This defines the note A below middle C (sometimes called “middle A” or “A4”) as a

creates a pitch exactly one octave higher (A5). The vertical

frequency of 440 hertz (Hz)—in other words, a vibration of

axes show amplitude (loudness) of the wave. All of the diatonic notes within an octave, that’s every

four hundred and forty times per second. If we look at the two sets of sine waves on the right,

half-step—or for each guitar string, every note played on

which give a visual representation of two vibrating strings

every fret from the open string up to the 12th fret—will have

when measured with an oscilloscope, we can further see the

a mathematical relationship with one another. The table on

nature of the relationship between frequencies and pitch.

the next page shows the frequency of every note on every fret

Let’s say that Wave A shows “middle A”—a frequency of

of the A string (the fifth string from the top) on any correctly

440 Hz. Wave B shows twice as many peaks and troughs,

tuned guitar; as you can see, the A on the 12th fret (A3) is

meaning that it vibrates at twice the frequency (880 Hz). This

double the frequency of open A (A2).

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HOW YOUR LES PAUL WORKS

HEARING THE SOUND

Fret

Note

sound? All sounds reach us through the displacement of air

0

A

110 Hz

between the source of the sound and our ears. When the

1

B b/A#

2

So when you make a string vibrate, why do you hear a

string is plucked it disturbs the surrounding air, causing the displacement of molecules. This causes adjacent molecules to be disturbed until the energy created by the initial displacement has dissipated—the energy eventually decays to zero, losing a small amount as it is transferred between each molecule. We perceive this energy as volume. So the reason why the sound produced by a musical bow can only be heard from close proximity is that it can only displace a small amount of the surrounding air. To make a string displace more molecules it would need

Frequency Fret

Note

Frequency

7

E

164.8 Hz

116.5 Hz

8

F

174.6 Hz

B

123.5 Hz

9

G b/F#

185 Hz

3

C

130.8 Hz

10

G

196 Hz

4

D b/C#

138.6 Hz

11

A b/G#

207.6 Hz

5

D

146.8 Hz

12

A

220 Hz

6

E b/D#

155.6 Hz

33

this effect by comparing the volume of an elastic band being

to be connected to some kind of soundboard, a larger object

twanged between two fingers and when one end is held

that also vibrates when the string is plucked. (You can hear

against a resonating surface like a wooden table.)

THE LES PAUL AND ITS WOODS Every part of a guitar will, in some respect, contribute to its tonal characteristics. On an acoustic guitar it’s clear that these qualities are

ALDER is light in weight and produces a warm, mellow tone with strong highs. BASSWOOD is light and colorless but relatively

mainly down to the tone woods selected, saddle

soft, and so can dent easily. Tonally it has a warm

and nut materials, and the way the instrument is

sound with a powerful mid-range.

constructed. For a solidbody electric guitar, however, far more significant is the combination of pickups and amplifier used.

EBONY is hard, dense, and transparent, and used on some Les Paul fingerboards. MAHOGANY provides warmth, clarity, and

The classic Gibson Les Paul body is built from either solid or multi-piece mahogany and usually

excellent sustain. MAPLE is a hard and heavy wood used as a cap

topped with a thin maple “cap.” Apart from a

on most Les Pauls, which gives additional bite.

brief period during the 1970s Norlin era, when a

Briefly used as a neck material and occasionally on

three-piece maple neck was introduced, Gibson Les

fingerboards.

Paul necks have always been cut from mahogany.

ROSEWOOD is a highly prized and expensive tone

Fingerboards are usually made from rosewood,

wood. When used as a fingerboard on a maple neck

with ebony used on some high-end models (and

it creates a warmer, sweeter sound.

occasionally maple). Since 2011, Ritchlite has been

Could you tell the difference? It’s probably fair

used on the fingerboards of Customs. A human-

to say that in a blind listening test only a tiny

made material that incorporates recycled paper in

minority of players would be able to discern one

a phenolic resin, Ritchlite is extremely hard, and

from another, other than to say they sounded

although it behaves much like ebony, there seems to

“different”— and even then it would more likely be

be a hardcore of Les Paul players who simply don’t

due to factors other than wood.

like the idea of “unnatural” materials being used. Epiphone Les Pauls have been built from a

Another debated issue is that of multi-piece construction. Les Pauls were traditionally built from

broader range of woods, with bodies cut from nato

a single slab of mahogany, with some later models

(eastern mahogany), maple, alder, and basswood.

featuring a three-piece body with a maple top. In

Here is a brief rundown of the tonal qualities

spite of what some might claim there is really no

associated with some of these woods.

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CHAPTER 1 | GETTING TO KNOW THE LES PAUL

Acoustic guitars achieve this volume enhancement using a

First Harmonic

sound chamber, which takes the form of the hollow wooden body. The string vibrates between the nut and the bridge saddle which causes the sound chamber to vibrate, disturbing the air molecules inside the body. Since the whole of the

Second Harmonic

guitar vibrates to a greater or lesser degree, this is how the specific properties of different types of wood can affect the sound—different timbers, for example, absorbing different frequencies—or, indeed, different types of construction.

Third Harmonic

MAGNETIC DISTURBANCE A Les Paul, of course, like all other solidbody electric guitars, has no resonant cavity, but has a body made from

Fourth Harmonic

a slab of wood, and so doesn’t vibrate to anything like the same degree—this is, after all, the point of the solidbody electric guitar. So for it to be heard it must be amplified electronically. And the best way to do that is to use a magnetic pickup. Although the principles of electromagneticism have been

Pickup A

known since the 1830s, it was not until the beginning of

Pickup B

the twentieth century that the first audio amplification was developed. Engineer Lloyd Loar is credited with pioneering

inducing an alternating current that runs through the coil of

the concept of the magnetic pickup in 1924 while working

copper wire and is passed along through the amplifier and

for Gibson, but it wasn’t until the following decade that such

made audible by the loudspeaker.

an idea would be commercially applied to a guitar. A magnetic pickup is a simple device, comprising a set of

PICKUP POSITIONING

small magnets (or one large bar magnet) wrapped up many

Although most Les Pauls feature two similar humbucking

thousands of times by a coil of fine copper wire. (Indeed, a

pickups, you will notice that they both have different tonal

pickup is quite straightforward for anyone to build.) The two

characteristics. Why is this? To give a satisfactory answer we

ends of the copper wire are connected to the output socket

need to look more closely at the behavior of strings as they

of the guitar—usually via a simple volume and tone circuit—

vibrate. If we take a practical example of a string vibrating

which is then connected via a screened cable to an amplifier

between two points—the nut and the bridge saddle—the

and loudspeaker. (This describes a single-coil pickup, such

pitch of the note we perceive is the fundamental. However,

as the P-90 found on the first Les Pauls. Another Gibson

the sound is a combination of a number of other waves

employee, Seth Lover, would later develop a twin-coil pickup

called harmonic modes, and these vibrate at equal divisions

designed to cut the levels of noise and interference associated

of the fundamental at increasingly higher frequencies. In fact,

with single-coils.)

the fundamental can also be termed the first harmonic; the

To return to some elementary physics, a magnetic pickup functions according to Michael Faraday’s Law of Induction, which looks at the way disturbances applied to a magnetic

second harmonic, divides the fundamental by two; the third harmonic by three, and so forth. This can best be illustrated by looking at a standing wave

field can cause current to flow in wires; in other words, how

pattern above, which shows the way in which waves move,

changing a magnetic field creates voltage.

and their points of minimum and maximum movement. The

The pickup is positioned directly beneath the strings of the

black dots represent the minimum movement—the points at

guitar. To have any impact on the pickups, these strings must

which the string does not move at all—and are called nodes;

be made from a ferromagnetic material, such as nickel or

the red dots show the point of maximum movement—the

steel—that is, they must be attracted to magnets. When the

antinodes. In this example, even using only the first four

strings are struck the vibration disturbs the magnetic field,

harmonics, you can already see that the composition is very

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HOW YOUR LES PAUL WORKS

35

LES PAUL PICKUP HISTORY Although what many would regard as its

IVs, but IIs, IIIs, and Vs were also used and seemingly

characteristic sound comes from the humbucking

allocated randomly. In terms of the impact on

pickups, the Les Paul began life as a single-coil

the sound, a lower-strength magnet will create

instrument, fitted with a P-90 pickup—at that time

less magnetic pull on the strings and so tends to

a standard feature on all Gibson electric guitars.

generate a mellower tone.

These soapbar-style pickups produced a bright,

During this time, Gibson’s pickup winding

transparent sound, but with less treble “bite” than

machines were mechanical, with no facility to count

their Fender counterparts.

automatically the number of turns. This was left to

In 1957 Gibson introduced the first widely used

the discretion of the machine operators who simply

hum-canceling twin-coil pickup. Known as the PAF

made visual judgments. Consequently, even the

(“Patent Applied For”), it was the result of inventor

number of windings on the two coils within a single

Seth Lover’s attempt to produce a P-90 that didn’t

humbucker might differ greatly. So to describe any

hum. Instead he created a new pickup with a warm,

PAF sound as “characteristic” is perhaps a misnomer,

“fat” sound that would have a sizeable impact on

since there is such as disparity in the way these

the music of the 1960s.

pickups were made that any two selected at random

There are several factors that may determine the differences between any two pickup designs: the magnets used, the number of times the copper

may sound very different—all of which adds to the mystique of the vintage Les Paul. The PAF underwent design changes in 1967 into

wire is wound around those magnets, and how

what became known as the T-Top humbucker. In

tightly it is wound. The original PAF humbuckers,

1981, reacting to customer demand, engineer Tim

like the earlier P-90s, used magnets made from an

Shaw was given the job of designing a new pickup

aluminum/nickel/cobalt composite called alnico.

that replicated the old PAF sound. This was the first

Strength in alnico magnets is graded—the higher

of the many reproductions that are now used on

the Roman numeral, the more powerful the magnet.

factory Gibson Les Pauls, such as the ’57 Classic or

Most original Gibson PAFs were made with Alnico

the Burstbucker.

1950s Gibson P-90 Soapbar

different at the points along the string at which pickups A

Late 1950s-style PAF humbucker

When it comes to pickup placement, we can say that the

and B are positioned—the second and fourth harmonics are

closer the pickup is positioned to the antinode of the first

not vibrating at all above pickup A. This is, of course, an

harmonic (the 12th fret), the warmer the sound will be;

artificial example, made to illustrate the complex makeup of

the closer it is to the node of the first harmonic (the bridge

a vibrating string and the way the tone changes at different

saddle), the brighter the sound will be. Indeed, this is the

points along the string according to the alignment of nodes

classic difference between the sound of a bridge and a

and antinodes.

neck pickup.

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2 BASIC CARE This section of the book covers the most fundamental aspects of looking after your guitar—think of it as Les Paul 101. It covers the basic tools and techniques, such as stringing, tuning, cleaning, storage, and transportation, required to keep your instrument in the best possible playing condition.

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CHAPTER 2 | BASIC CARE

TOOLS FOR THE JOB For you to follow the methods for maintaining, repairing, and modifying your Les Paul covered in this book, we’re not expecting you to have a fully kitted workshop with a drill rig, band saw, or professional router. There are, however, a small number of critical tools and materials that you will need, although many of them can be found in home toolkits anyway. There isn’t a huge amount of guitar-specific equipment, though—not much more than a few hex keys and a neck radius gauge. If you’re planning to take on electrical modification you’ll need some rudimentary soldering equipment, although nothing so arcane that it couldn’t be found in most hardware stores.

WIRE CUTTERS, PLIERS for stripping

SCREWDRIVERS AND SOCKETS

CHISEL for removal of frets and basic

wires, cutting strings, and removing frets

selection for general use

routing procedures

RAZOR SAW used in cutting string slots

HEX KEY SET for bridge, vibrato, and

RADIUS GAUGE for matching bridge

in a nut

hardware adjustment (metric/imperial)

saddle height to fingerboard contour

ROTARY TOOL with drilling, routing,

TWEEZERS for general uses such as

NEEDLE FILES for filing and dressing the

grinding, and cutting attachments

retrieving lost screws or holding wires

tops and edges of frets

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TOOLS FOR THE JOB

WIRE WOOL/SANDPAPER for cleaning

AUTO FEELER GAUGE for measuring

SOLDERING KIT with iron, base, solder,

wood and metal

string and pickup heights

solder sucker, and “third hand”

MULTIMETER for measuring component

STRING WINDER for speedier rotation of

ELECTRONIC TUNER for tuning (and

values and checking connections

tuners and installation of strings

maintaining tuning)

CLAMPS for holding parts in position

SMALL STEEL RULER for checking

WOOD GLUE for use with wood, frets,

during maintenance or when drying

height of frets and pickups

and nuts

SPECIALIST CLEANING PRODUCTS for

LUBRICANT/NAPTHA for oiling and

PRESSURE-SENSITIVE ADHESIVE for

untreated rosewood fingerboards

cleaning

temporary positioning of parts

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CHAPTER 2 | BASIC CARE

YOUR GIG TOOLBAG It’s one thing having guitar maintenance equipment in your home workshop, but there is also a small core of tools that every performing guitarist should take along to gigs. It’s possible to buy ready-assembled kits (see right), but these cover only the bare essentials. Here is quite a personalized checklist. At first it might seem over the top but it’s always good to be prepared, and the items will all fit snugly into a standard twelve-inch canvas tool bag. To maximize storage capacity, if possible, choose a bag that has internal zipper compartments as well as a set of outer pockets (see below). The aim is to accommodate the kinds of minor problem that might emerge while you’re out and about, such as broken strings, rattling parts, or poor connections. Some may

Groovetech guitar tool kit

feel that taking a medical kit, spare strap, and soldering gear along to a gig shifts into the realm of madness—but, as they say, once a boy scout, always a boy scout. (And your band colleagues will love you!)

•

Spare set of strings Always take one spare set of your

preferred set of strings, and if there’s one size that you break more frequently, keep a decent supply of “singles.”

• • • • •

• • • • • •

Set of hex keys and sockets Thick marker pen Spare mains fuses for electrical gear International mains plug converter Nail clippers/nail file Batteries If you use battery-powered effects pedals

Wire cutters

always keep a supply of 9V PP3s. (It’s not a bad idea to keep

String winder

a few AA-sized batteries in your bag as well.)

Long-nose pliers (or multi-tool) Crosshead screwdrivers (medium and small) Flathead screwdrivers (medium and small)

•

Gaffer tape Always keep a reel handy for securing loose

cables around your amplifier.

• •

Electric tuner Four-way power strip This is a terribly useful item to

take along to gigs, where there are often a surprising lack of power outlets.

•

Supply of picks Always carry a dozen or so in your bag.

You will lose them. (Where on earth do they go?)

• • • •

Spare valves Spare strap Spare cable Small soldering iron and solder A small battery-

powered 12W soldering iron will be powerful enough to resolder an output socket if necessary.

•

Small flashlight Stages are often poorly lit. You could

also use your smartphone.

A twelve-inch canvas tool bag makes a neat gig bag.

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• • • • • •

Thick marker pen Small notepad Capo/eBow Headache medicine and bandages Contact cards Energy bar/energy drink

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TOOLS FOR THE JOB

41

LES PAUL: SHOULD I OR SHOULDN’T I? Short of sawing or chiseling chunks out of the body to

specialist tools and equipment. And while we do cover

create a modified shape, or filing down the frets by an

replacing the odd worn out fret, a total redressing job

insane amount, pretty well anything you attempt on

(which you could doubtless manage by repeating the

your Les Paul that doesn’t work out can be put right

steps for all of the frets) probably isn’t worth the time

without too much trouble or expense. This book sets out

and trouble it will take you—especially when many

to be as non-proscriptive as possible, but if you have

repairers have technology that can take care of a lot of

little experience in guitar maintenance, before you take

the hard graft, such as the Plek “fret-grind” machines.

on a big job, read it thoroughly before deciding your

Another area we touch upon only briefly is that of

own level of comfort. Here is an outline of what you can

cosmetic repairs or customization. Most guitarists are

expect to find in the book.

quite proud of their “battle scars,” so the odd ding here and there is usually of no major concern—although we

BASIC MAINTENANCE (Chapter 2)

do have a couple of quick fixes you can try out. Resprays,

This means everything you ought to be doing regularly

refinishes, and custom paintworks, however, are a

to maintain your Les Paul in peak condition.

different matter. There’s a noble tradition of taking household paints, enamels, nail varnishes, and other

ADVANCED MAINTENANCE/REPAIRS (Chapter 3)

substances to a Les Paul—as proven by the likes of Zakk

This covers methods for improving your Les Paul, and

Wylde and Joe Perry—and it can be great fun to create

getting it to work in a way that best suits your playing

an absolutely unique Les Paul among a sea of

style. Some of the more advanced adjustments, such as

cherryburst and Black Beauty finishes. If, however, you’re

replacing the nut, are traditionally handled by

attempting to achieve a factory-standard professional

professionals, but with care anybody should be able to

finish, specialized spraying and buffing tools are a

do a straightforward like-for-like replacement.

necessity, not to mention having a safe workspace— especially if you’re using the nitrocellulose finishes

MODIFICATIONS (Chapter 4)

traditionally used by Gibson, which can be potentially

The pickups and the components hidden away in the

toxic where there is insufficient ventilation.

body cavities play a critical role in the Les Paul sound. This chapter is all about ”modding,” finding ways of

INVESTMENT OR WORK TOOL?

adapting this sound, through altering the pickups and

Of course, you should take into account the type of

components, with additional switches or by rewiring

instrument you own, and what it means to you. While

different aspects of the circuitry.

some of this book is about setting up or modifying a Les

Some of this is tricky stuff, and it will require you to

Paul, and getting it to play in exactly the way you want

develop at least some basic soldering skills. But

it to, we understand that any Gibson guitar is a potential

although we’ve tried to explain a little about the way

investment that, if cared for, will probably appreciate in

each component works and what it does in the context

value. Applying a jigsaw to make that upper body

of the guitar, it’s not strictly necessary for you to

cutaway might produce the guitar you always wanted,

understand. And if you have no experience whatsoever

but you will also be slashing its resale value. As you’ll

of electronics then you won't be expected to learn how

quickly discover, we’re big fans of diffusion ranges here,

to follow a circuit diagram, just easy-to-follow, colored

and if you work through the techniques in this book you

schematic layouts and the odd photograph.

will certainly be able to turn a modest Epiphone Les Paul into a serious piece of kit in its own right—and relative

FOR THE PROFESSIONALS

cheapness allows them to be used for the low-risk

Some aspects of guitar maintenance are probably best

sandboxing of ideas. But, of course, with some vintage

left to the experts. Twisted fingerboards and broken

Les Pauls now worth hundreds of thousands of dollars,

headstocks—the latter a classic occupational hazard for

you’d have to be pretty crazy to do anything more than

the Les Paul owner—require serious surgery as well as

the most basic of maintenance and setting up.

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CHAPTER 2 | BASIC CARE

ASSESSING YOUR LES PAUL

HARMONICS AT THE OCTAVE To check intonation you need to compare the harmonic to the fretted note one octave up from

Before you do anything you need to check out the

the open strings. The raised octave is exactly

current condition of your Les Paul. If you have

halfway between the points where the string

bought a brand new, off-the-shelf instrument—

touches both the nut at the headstock and the saddle at the bridge. To play a harmonic, rest your

especially a Gibson rather than Epiphone—you

finger on the string (but don’t push it down against

should have very few basic problems, even if the

the fret), and release it just as you strike the string

factory set-up is not to your liking. These are all pointers that you should also consider if you’re contemplating buying a used Les Paul.

with the other hand. This will create a sustaining bell-like tone: while it rings, press the string down onto the 12th fret and strike it again; the two notes should have exactly the same pitch. If they do not, the bridge needs adjusting (see page 56–57).

PUT IT THROUGH ITS PACES Begin by spending a few minutes just playing the Les Paul, giving yourself a feel for the condition of the fingerboard. Check both the action and the intonation. The action refers to the height of the strings above the frets: too high and the guitar may be difficult to play, too low and the notes may not play cleanly or make a buzzing sound where they touch against frets higher up the neck. This can be adjusted at the bridge. Another factor that can affect the action is the curvature—or “relief”—of the neck. We’ll look at this in more detail shortly. The intonation refers to how well the guitar remains in tune along the fingerboard. The easy check here is to play a 12th fret harmonic and compare the pitch to the note you get from holding the string down on the 12th fret: if the fretted note is flat then the string needs to be shortened at the bridge.

OVERALL SHAPE Unless it has rarely been played, almost any older instrument you encounter will have gained a few scratches and dings. But if you carefully check out the woodwork and paintwork this can provide clues of underlying damage. You can do this most effectively under a bright light—even more so if you have a craft/electronics magnifying glass light that lets you see the surface in greater detail. Look out for cracks around the neck joint and especially where the headstock angles back. This is a well-known “fault-line” on older Les Pauls, and while it is fixable in the hands of a skilled luthier, it will not be a cheap repair. In terms of the finish, Gibson Les Pauls can be less robust

STATE OF THE NECK The condition of the neck will be the most important factor

than many guitars since they are finished in nitrocellulose,

governing your Les Paul’s playability. There are two different

which is much thinner and more prone to damage than the

aspects to consider here: the “flatness” of the fingerboard and

polyurethane finishes found on most modern guitars.

the “straightness” of the neck.

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ASSESSING YOUR LES PAUL

Checking for a twisted fingerboard

It’s critically important that the neck and fingerboard are

A perfectly flat Les Paul fingerboard

If the twisting is only slight and you favor a higher action,

not “in twist.” This means that if you hold the guitar at eye

then this may not be such a big problem, and it may also be

level, flat on its back and with the body facing you, the end of

possible to compensate by filing the frets so that they, at least,

the neck closest to the body and the point where the neck

are in alignment, but the only real solution would be to

joins the nut, should be close to perfectly parallel when lined

remove all of the frets and work on leveling the fingerboard

up. There’s no strict measurement to be made here, but if you

before refretting.

are aware of a difference, the guitar will be difficult to set up,

In truth, this is up there with the most difficult repair jobs

since it will require different actions across the six strings to

for any Les Paul, and is most definitely one of those tasks for

compensate for the problem.

the professionals.

NECK RELIEF

credited to a Gibson employee named Thaddeus McHugh in

Contrary to popular belief, a guitar neck need not necessarily

1921—provides strength to the neck and a means of

be perfectly straight when viewed along the edge of the

adjusting its curvature or “relief.”

fingerboard. When the strings are attached to a guitar, a

To check out the current neck relief of your Les Paul, hold

severe tension is exerted on the neck that would, over time,

the guitar as if aiming a rifle and look along both edges of the

naturally result in an amount of upward curvature, centered

neck. You can hold the guitar either way round: if you bring

somewhere around the 6th to 9th frets. To compensate for

the headstock up to eye level you will get a clearer view,

this in a controlled way, for many decades now, guitar necks

although it will be harder to hold. You can also check the

have been built with an adjustable metal truss rod running

neck relief by holding a steel ruler directly onto the tops of

along the center, beneath the fingerboard. This invention—

the frets.

Checking for fingerboard relief by sight

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43

Checking for fingerboard relief using metal ruler

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CHAPTER 2 | BASIC CARE

Neck relief is a matter of taste for the player. Most who understand or care about such things tend to favor a very slight neck relief—a much less exaggerated version of the curve shown in the middle diagram below. This will enable the lowest action, and at the same time avoid fret buzz. A completely straight neck is also fine and a good place to start for setting up. If your guitar neck has a concave curve, as in the bottom diagram, you will suffer fret buzz, a horribly high action, and poor intonation. (If it really is as extreme as in the diagram, then it will be unplayable as you won’t be able to raise the bridge high enough to clear the frets.) If the truss rod is in full working order then this can be fixed with a few turns of the adjustment screw; if not, you’re in trouble—once again, this would entail expert intervention, and a replacement neck would be the most expedient solution. (In fact, when buying a used Les Paul, it’s always a good idea to check out the truss rod screw to make sure that it works properly.)

Gibson Les Paul with gentle relief around the 8th fret

We’ll cover setting up and adjusting the truss rod in some depth on pages 82–83. FRETS On heavily used older guitars the frets are likely to be worn

Straight neck

down. This is inevitable since pressing the strings down over time will grind away at the top of the fret. Replacing the odd fret is a tricky job, but doesn’t necessarily require expert skills—as you can see on pages 86–89. Factory-fresh Gibsons should be in a near-perfect state,

Upward relief

but to reduce costs, less time will be spent “dressing” the frets on some of the cheaper Epiphones, so you may notice the fret edges are not completely smooth, or if you bend a string, the top of the fret feels slightly rough: an hour with some wire wool following the tips on page 86 will sort that out.

Back-bow

KEEPING A RECORD Something for the nerds and anal retentives out there! Our recommendation is that you always keep a record of your guitar’s details. This can help you in your regular maintenance, give you an instant state-of-play if you are a heavy modder, or even provide important information should you be unfortunate enough to have your Les Paul stolen. These are especially useful if you have a collection of guitars that are set up in different ways. The example on the right was put together using Microsoft Excel software, but index cards or scraps of paper in a plastic wallet will do the job just as well.

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ASSESSING YOUR LES PAUL

AT THE BRIDGE

(See pages 90–93.) Nut adjustments are worth studying as,

On older Les Pauls, look out for signs of rusting on the

like all issues surrounding action, they can be a matter of

bridge parts, most of which will be due to player sweat. If

personal taste, but since cutting the slots in the nut can’t be

it’s particularly bad and screws are corroded then adjusting

undone, both Gibsons and Epiphones will tend to be shipped

the bridge and tremolo might be difficult.

at the maximum acceptable height.

THE NUT

THE TUNERS

The nut governs both the height and width of the strings.

Detune and retune all six tuners. If they are too lose they

Over time, these can wear out and can be quite tricky to

won’t keep your Les Paul in tune. There’s plenty of advice

replace, especially if you cut your own nut from scratch.

about tuners on pages 94–95.

45

CHECK THE ELECTRICAL SIDE Our final check is the state of the electrical parts of your Les Paul. During these exercises, if you hear any unwanted noises, there’s a strong likelihood that the problem will be fixable by taking an electrical spray to the contact points, so take a look at page 119 for instructions on cleaning pots, switches, and sockets. Plug your Les Paul into an amplifier and turn the volume and tone controls up to “10.”

•

Output socket Jiggle the plug in the socket. If it makes a

crackling noise, or feels loose in the socket, then that’s an indication that the output section will need cleaning or possibly even replacing. (See pages 124–125.)

•

Volume controls With the selector switch set to the center

position—so that both pickups are active—turn both volume controls down to “0” and then back up to “10.” Repeat this several times. If you hear crackling noises as the knob rotates then there is some kind of contact problem between the wiper and the carbon ring inside. Nine times out of ten, contact cleaner will sort this out, but if the ring is physically damaged then you may need to replace the pot. (See pages 126–127.)

•

Tone controls Repeat the instructions above, only this

•

Pickup selector switch Move the switch quickly back

time for the two tone controls.

and forth listening for audio clicks and pops. If you hear any unwanted noise then the switch will need cleaning or replacing. (See pages 128–129.)

•

Pickup test With the selector switch in position 1

(“treble”), gently tap all six poles of the bridge pickup with a screwdriver—you should hear a sound each time the tip makes contact. Repeat in switch position 3 (“rhythm”) with the bridge pickup.

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STRINGS AND STRINGING A fundamental aspect of owning a guitar is fitting strings, but since not all Les Pauls feature the same style of tuning mechanism, different methods need to be adopted to suit each system. First, though, we’ll first take a look at the available string types and how they can affect your playing tone.

STRING ISSUES Electric guitar strings have to be made from a ferromagnetic

String sets by D’Addario, Ernie Ball, and Fender

material, such as steel, nickel, or other magnetically conductive alloys. Nowadays there is an ever-growing choice of string types, including those with specialized coatings. Here are some of the tonal characteristics of the most widely used materials. Roundwound bottom E string Nickel-Plated Steel The most commonly used on electric

guitars—versatile and balanced Pure Nickel Vintage style—material used in all electric guitar

strings until the 1960s; warm, with “played in” tone Stainless Steel Outstanding for a bright, crisp sound Chrome Warm and resonant tone, popular with jazz players Titanium Strong with bright tone

Halfwound bottom E string

Cobalt Bright with wide dynamic range

WINDINGS The three bass strings differ from the treble strings in that they are constructed from two pieces of wire, one wrapped tightly around the other. There are three types of string

Flatwound bottom E string

windings, all of which are shown on the right. The most commonly used is roundwound, so called because the winding wire is circular. Flatwound strings are made using a

broad indication of specific string sizes, although these can

ribbon-like winding, which provides a smooth outer wrap,

vary greatly in the lower strings. Standard sets are usually

and so reduces finger noise; it creates a mellow tone well

described in terms of the gauge of the top E string, so light

suited to jazz. Halfwound (or groundwound) strings represent

gauge string sets are commonly referred to as “tens.”

a compromise between the two, taking a roundwound string

It’s clear that the lighter the gauge, the easier the string will be to press down against the fingerboard or bend, so why

and smoothing the top of the winding.

would anyone choose to play heavier strings? The simple

WHICH STRING GAUGE?

answer is that a trade-off exists between full-bodied tone,

An important factor affecting tone is the string gauge—the

sustain, and volume, all of which are improved with heavier

thickness of each string measured in thousands of an inch.

gauges. The main drawback is that fretting and string

String sets come in a variety of sizings between extra super

bending both become more difficult—and if your style is to

light and extra heavy—the table on the opposite page gives a

bend more than one step it might even be impossible. That

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47

TIME FOR A CHANGE? How often should guitars strings be changed? There is

Corrosion attacks the metal surface of the string, and on

no definitive answer to this question. Indeed,

roundwound bass strings skin residue can clog up the

experience suggests that there are plenty of guitarists

space between the windings. You can extend the life of

out there who only replace a string when it snaps. And

your strings to a degree by cleaning them after use (see

this is not necessarily a “wrong” approach. Although

page 67), but eventually they will wear out. A related dimension is the loss of elasticity that takes

some professional players might have their strings replaced before every performance, others may prefer

place in a string, which begins pretty much from the

the sound and playability of strings that have been very

moment the string is fitted. When you apply a new set

well worn in.

of strings the sound will always initially be very bright, but this tone will dull over time. (A scientific explanation

So how do we know when a set of strings has reached the point of no return? One thing’s for sure, if

is well beyond the scope of this book, but if you do

the strings on your Les Paul are significantly discolored

happen to be interested then the answer lays in Young’s

or even corroding, then you’ll need some new ones—

Modulus of Elasticity.)

even if you ignore it, it’s a sure sign that they’re going to

Ultimately, though, it’s all about personal preference,

snap sooner or later. But this can occur not only through

and that kind of thing comes only with experience. So

age or poor maintenance, but because, as individuals,

here’s a simple rule: if your strings no longer sound or

we all have different levels of acidity in our sweat; this,

feel as good as they once did, and it bothers you, then

in turn, will react at varying rates with the strings.

it’s probably time for a change.

STRING GAUGE

E (1)

B (2)

G (3)

D (4)

A (5)

E (6)

Extra Super Light (8–38) (“eights“)

.008

.010

.015

.021

.030

.038

Super Light (9–42) (“nines“)

.009

.011

.016

.024

.032

.042

Light (10–46) (“tens“)

.010

.013

.017

.026

.036

.046

Medium (11–50) (“elevens“)

.011

.014

.018

.028

.038

.050

Heavy (12–54) (“twelves“)

.012

.016

.020

.032

.042

.054

Extra heavy (13–56) (“thirteens“)

.013

.017

.026

.036

.046

.056

said, the number of celebrated Les Paul players using eights

Duane Allman

and nines would seem to suggest that it’s not necessarily that

Jeff Beck (Les Paul)

big a deal.

Mike Bloomfield Joe Bonamassa

CUSTOM SETS

Tens Eights “Not very light” Elevens

Eric Clapton

Tens

string sets. A common deviation is for players using extra/

Ace Frehley

Nines

super light sets to increase the size of the two bass strings.

Peter Green

Twelves

This can provide a tighter sound in the lower end, and help to

Paul Kossoff

Thirteens

With experience, some players create their own customized

restrict bending or heavy vibrato, which can be more difficult

John McLaughlin

Tens

wobble” when using dropped tuning. Other players have

Gary Moore

Tens

such specific requirements that string sets have to be created

Jimmy Page

Eights

from scratch—playing Robert Fripp–style New Standard

Joe Perry

Tuning (G-E-A-D-G-C) can require a top E as small as .008

Slash

to control in that register—not to mention preventing “string

and a bottom E as large as .056.

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Zakk Wylde

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Nines/Tens Elevens Tens

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CHAPTER 2 | BASIC CARE

STRINGING A LES PAUL Since its introduction, the Les Paul has appeared with a variety of styles of tuners, but the layout has remained consistent with two groups of three tuners on each side of the headstock—“three-a-side,” as it’s known. The original Les Paul tuners were built for Gibson by Kluson, a closed design labeled on the back of the case as “GIBSON DELUXE,” and with a small hole for dripping oil onto the gears when needed. The button was made from plastic and is usually referred to as the “tulip” style. One of the most common upgrades of “first era” Les Pauls (those built between 1952 and 1960—when the model

Modern-day Kluson tulip-button tuner

was discontinued), was to replace the tulips with Grover Rotomatics, with their characteristic kidney-shaped buttons.

buttons broke off or wore away. Since that time, similar

Although these were viewed by some as better tuners, these

designs have featured on stock Les Pauls, produced by

changes often came about when the original plastic tulip

Grover, Schaller, and other manufacturers.

1

Loosen the string tension on the low E string by turning the tuner counterclockwise. Take a pair of wire cutters

and snip the string near the nut.

Take the new string and thread the bare end through the 6th-string hole in the back of the tailpiece. Pull through

until the ball end prevents it moving any further.

4

Before you thread the string into the hole in the post, make sure that it passess over the bridge saddle and sits

in the appropriate slot on the nut.

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2

5

Thread the end of the string through the hole in the tuner’s post and pull it tight. Leave 2 inches (50.8mm) of

slack beyond the hole and snip the string with wire cutters.

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STRINGS AND STRINGING

49

strings, to be absolutely safe it’s a smart idea to wear protective goggles, since flying string ends can go all over the place, and you really don’t want them going anywhere near your eyes. Now in spite of the different types of tuners found on a Les Paul, all of them work in exactly the same way, with the string end threaded through a small hole in the post, which protrudes from the front of the headstock. This means that, unlike Fenders, which are sometimes fitted with “split” tuners, there is only one standard stringing technique to learn. (This is excepting those few Les Pauls that feature locking vibrato bridges (see pages 52–53).

Grover Rotomatic tuner

Here we’ll look at changing a bottom E string on a Replacing strings can be a fiddly business, and if you’re

modern Gibson Les Paul Studio Pro. The only tools you’ll

not careful you can end up with all manner of scratches and

need are a pair of wire cutters and a cheap string winder—the

pricks on your fingers. Worse still, when you’re removing old

sort you can pick up for only a few dollars.

ONE STRING OR ALL? There are two schools of thought as to how we ought to go about changing a set of strings: one says remove them all in one go, the other says that hole at 90 degrees

it’s better to do it one string at a time. Our recommendation, for various reasons, is to do it one string at a time if you can. In terms of the impact it has on tuning stability, removing all of the strings at once will only really affect guitars with delicate vibrato mechanisms; if your Les Paul is armed with a locking vibrato, such

3

Before you thread the string, ensure that the open hole is

as the Floyd Rose system, then one at a time is

facing the three o’clock/nine o’clock positions—

definitely the way to go if you want to avoid

approximately perpendicular to the side of the headstock.

spring adjustments and the like. You should be able to string a Bigsby vibrato easily enough from scratch, but it’s still more straightforward doing it one string at a time—in fact, it’s just generally less fiddly, as you don’t have to worry about the tailpiece or Tune-o-matic bridge coming loose when there no strings holding them in place. As far as safety is concerned, it’s fine to remove all of the strings at the same time as the neck will have no problem dealing with a sudden short-term change in tension. The potential for problems arises if your Les Paul remains unstrung for a long period of time—being placed in storage for months, for example. In this case you would be advised to

6

Bring the tip of the string around the front of the tuner’s

release some of the neck tension my loosening the

post and back under the string, folding it sharply over,

truss rod or you might face movement in the neck

and forming a loose knot.

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when you next decide to restring.

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CHAPTER 2 | BASIC CARE

String passes under

String hole at three/nine

String passes over

o'clock position

7

8

9

10

BEFORE THE TUNE-O-MATIC

have created their own Tune-o-matic style bridges, many of

In this book we’ll only be covered the stringing and

them designed to be interchangeable either with ABR-1 or

maintenance for Tune-o-matic and locking vibrato bridge

Nashville body mountings. (The two are not directly

units, since this covers almost all Gibson or Epiphone Les

interchangeable, although a number of companies produce

Pauls ever made.

conversion posts with two separate thread sizes in place, to

Bring the tip of the string around the front of the tuner’s post and back under the string, folding it sharply over,

and forming a loose knot.

Keep the string taut between the bridge and the nut. Do this by holding the string down against the fingerboard

with the thumb and pushing it up with the forefinger.

With the string still stretched, turn the tuner’s button clockwise with your other hand until the string is tight.

Snip the end of the string so that only about 1/2 inch

(12.7mm) is protruding. Gently tug the string a few

times from the center of the fingerboard to help it settle in.

A string winder can save you time here.

First used in 1953, the Tune-o-matic fixed bridge unit was

make this possible.)

the invention of Gibson’s then president, Ted McCarty, and it was designed to provide height adjustability and individual

OVER AND UNDER

string intonation. In conjunction with the fixed tailpiece, it

Although the 1954 Custom “Black Beauty” was the first Les

quickly became established as Gibson’s standard bridge on all

Paul to be fitted with a Tune-o-matic, the two earlier years

but the cheapest solidbody electrics.

following its launch saw three different types of bridges in use

The design remains in use to the present day: the original design, produced until 1975, is known as the ABR-1 model;

at various times. The original bridge used on the 1952 Goldtops was a

the modified “Nashville” Tune-o-matic first appeared in

trapeze design which screwed to the base of the body and was

1975, when production moved from Kalamazoo to Nashville.

only adjustable in overall height and length. With tuning and

In the modern era, all of the major guitar hardware producers

intonation a problem, these “wrap-under” bridges were the

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51

TOP WRAPPING Although the stringing technique shown over the past few pages is completely orthodox for all Les Pauls fitted with a fixed tailpiece and Tune-o-matic bridge, it isn’t the only way to do it. Both Zakk Wylde and ZZ Top’s Billy Gibbons, among others, favor what is known as “top wrapping” for their Les Paul tailpieces—indeed, Gibbons’ own signature “Pearly Gates“ Les Paul Standard comes that way from the factory.

string threaded from bridge side

The idea is a simple reversal of conventional tailpiece stringing: the strings are threaded into the front of the tailpiece rather than from the back;

The string is threaded from the front of the tailpiece

they are then looped over the top of the tailpiece before passing over the bridge saddle and nut, to be secured at the headstock in the usual way. There are two sound reasons for this. To begin with, it reduces the angle of the string between the last point of contact (the top) on the tailpiece and the bridge saddle. Secondly, it enables the tailpiece to be screwed down against the body, which can provide improved sustain and tone. On the downside, they don’t look as tidy, and, over time, the tailpiece will get scuffed by the movement of The string is looped over the tailpiece

the strings.

Trapeze-style wrap-over bridge used on 1952–1953

Compensated wrap-around fixed tailpiece used on some

Les Paul Goldtops

Les Paul Goldtops and the Les Paul Junior family

subject of numerous complaints from new customers,

During 1953, the trapeze bridge was replaced altogether

and—apparently at the behest of Les Paul himself, who later

with a “wrap-around stop bar.” This looks similar to a

claimed to have immediately spotted the design flaw—was

standard Gibson tailpiece only it has integrated saddles with

replaced later that same year by the upgraded “wrap-over”

compensated alignment. The strings are threaded from the

design (see above). The new version had ready-cast

front and looped from the back over the bridge. This was a

compensated saddle positions, and while it may have offered

marked improvement over the trapeze design and kept the

no greater adjustability than its predecessor, the intonation

strings close to the pickups, improving volume. This design

was greatly improved.

was used on Goldtops until 1955, and Les Paul Juniors.

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STRINGING A LOCKING VIBRATO SYSTEM

something of a rethink when compared to orthodox tuners.

Frustrated by the tuning problems associated with classic

The ball ends and lower windings of the strings have to be

vibrato systems, in the late 1970s American musician and

snipped off with cutters, and the string clamped firmly at the

engineer Floyd Rose developed—and gave his name to—a

bridge. The string is then threaded through the loosened

radical locking tremolo system. A delicately calibrated sprung

locking nut and then secured at the tuner in the conventional

bridge unit, with strings clamped in place at the nut and fine-

way. The guitar is tuned in the usual way, before the nut is

tuned at the back of the bridge, it became de rigueur for rock

locked, clamping the strings in place. Fine tuning (at most, a

guitarists of the decade that followed. Its principal selling

step in either direction) is done by turning one of the six

point was that, when correctly set up, the Floyd Rose system

tuning screws at the bridge.

With the Floyd Rose system, stringing and tuning requires

made it possible to perform “dive-bomb” pitch-bend effects— where the strings could be detuned to a point where they lay

FLOYD ROSE AND THE LES PAUL

completely slack on the body—and then return to perfect

The Floyd Rose unit was heavily licensed—which is why a

tuning on release of the arm.

huge number of slight design variations exist—and quickly

1

Unscrew the locking nut using a 3mm hex key. Pull out the broken string from the top and remove the remains

from the tuner.

This will release the other end of the broken string.

(Note: other hex key sizes may be needed on some systems.)

4

Poke the end of the string into the open bridge saddle. Secure the string by tightening the bridge clamp using the

3mm hex key.

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2

Unlock the bridge saddle clamp using the 3mm hex key.

5

Thread the string underneath the locking nut and then fit to the tuner as shown on pages 48–49. Tune all six strings

at the headstock, and then tighten the locking nut.

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STRINGS AND STRINGING

became a defining feature of the “superstrat” style of rock

The advantage of these locking systems is that once set up

guitar of the 1980s, but that now merely represents another

and tuned, they remain impressively stable and often will

of the many choices open to the modern guitarist.

need little more than the finest of retuning until the strings are

A small number of Les Pauls have been factory fitted with

replaced. The downside, however, is that the stringing can be

a Floyd Rose, including the Gibson Axcess and Shred ranges,

a nightmare when you’re first trying to figure out what to do.

or the Epiphone Les Paul Plus Top PRO/FX. Floyd Rose or

The floating bridge mechanism on the Floyd Rose is

other locking vibrato designs are generally retrofitted,

delicate, and the springs holding it in place have to be very

although this does require invasive “surgery,” with additional

carefully set—and reset if you decide to fit a different set of

routing both on the body at the bridge and at the nut. This is

string gauges—so always change strings one at a time.

perhaps not a job for the faint of heart since, although

53

Here we’ll deal with changing a broken string. Make sure

relatively simple in principle, an inaccurate measurement or

that you have the correct hex key for your specific bridge and

slip of a chisel can easily leave behind a damaged body or

locking nut: original Floyd Rose systems (and most of their

fingerboard. And once done, it would require heavy

derivatives) use 2.5mm and 3mm keys; some others also use

restorative work to return it to original condition.

1.5mm and 3mm keys.

CHOCKING THE BRIDGE The reason that stringing a Floyd Rose from scratch can be such a headache is that in order to work properly, a so-called floating bridge design depends on the tension in the vibrato springs being precisely counterbalanced by the tension in the strings. This is why changing strings one at a time is the least painful way of doing it. If that’s not possible, however, then the best we can do is create the effect of the strings still being in place by propping up the bridge, preventing it falling away from its

3

Unfurl the new string. Take a pair of wire cutters and

posts using some kind of wedge. This could be a

snip off the ball end (or bullet) as close as you can to the

small piece of wood, a pack of playing cards, or—a

end of the string wrapping.

simple and effective solution if ever there was one—a couple of ice-pop sticks.

6

You can now fine-tune the strings using the individual screw adjusters located on top at the rear of your Les

Paul’s floating bridge unit.

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CHAPTER 2 | BASIC CARE

TUNING Irrespective of musical genre, playing in tune is fundamental for every guitarist. Electronic tuners are commonplace and are often built into effects units, but there are also some very useful manual techniques for tuning to a reference tone.

ELECTRONIC TUNING If you look back much further than three decades, tuning a

D’Addario clip-on tuner fitted to Epiphone Les Paul

guitar was done either by matching the open strings to the notes E, A, D, G, B, and E on a piano keyboard or by taking a single reference note for an open string—maybe using a tuning fork or tuning pipes—and then matching fretted notes to the other five open strings. Nowadays things are much easier as most of us have access to electronic tuning devices meaning all we have to do is turn the pegs on the headstock and wait until the meter reaches the correct position. Electronic tuners have come a long way in recent years, and the old-style units that required a guitar output signal are now rarely seen; clip-on tuners that fit onto the headstock Tuner app for Apple iPad

and work by sensing vibrations (see top right), are now standard for most players and are extremely reliable. As an

1 2

Match the top E string to a reference tone, such as a

alternative there are numerous apps that can run on

keyboard, test tone, or tuning fork.

smartphones and tablets.

USE YOUR EARS

Play the 5th fret of the 2nd string (the note E) and open

As convenient as electronic tuners might be, there is some

1st string together. Turn the tuner on the second string

virtue in developing aural tuning skills in the old-fashioned

until it is identical to the 1st string. The open 2nd string is

way—not least of all in the event that you find yourself

now tuned to B.

without access to an electronic tuner.

3 4

Use the same method for tuning the other four strings by

Here are four fingerboard diagrams covering different

following the diagram below. Match them up by color.

methods of reference-tone tuning. The one shown below is probably the most common, which entails matching the 1st

Now play an open E major chord. Check it against the

string (top E) to a reference tone and then using that to tune

original test note, and modify if necessary.

the other five strings.

1

2

3

4

5

1

E

2

B

3

G

4

D

G

5

A

D

7

8

9

E B

6

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6

A

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TUNING

55

TIPS Three similar systems are shown below. The first matches octaves to open strings, and the second mixes upper and

pitch, if the notes sound almost there but you

lower frets. The third diagram differs in that it uses harmonics—the bell-like tones you hear when you play a deadened note directly above certain frets—on adjacent strings over the 5th and 7th frets. To use this method you need to have the 6th string (bottom E) in tune. Match E to E, A to A, and D to D using harmonics. Now match the B harmonic on the 7th fret of the 6th string with the open 2nd string. Finally, match B to B using harmonics to tune the top string. Octave Reference Tuning 1

2

3

• When trying to tune two strings to the same

4

detect a slight pulsing effect, the strings are still not quite in tune.

• If you’re using very light strings, don’t fret

them too hard as they may give you a slightly sharp note.

• Try not to pluck the string too hard when

tuning as it can distort the sound making it hard to tune correctly.

5

6

7

1

E

2

B

3

G

D

4

D

A

5

A

E

6

E

9

7

8

9

7

8

9

G

Mixed Reference Tuning 1

2

3

1

E

G

2

B

D

3

G

A

4

D

E

5

A

6

E

Harmonic Reference Tuning 1

2

4

5

6 B

3

4

5

6

B

1 2

8

B

B

B

3

D

4

D

A

5

A

E

6

E

B

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SIMPLE BRIDGE ADJUSTMENTS The next few pages contain critical set-up information. By “simple,” we mean that these are mechanical adjustments that are very easy to make, but must be done with care. The bridge work is especially important, and if your setup is poor, then your Les Paul will never play well whatever you do. Trapeze bridge

BRIDGE SETTINGS Let’s look at some of the basic adjustments you can make at the bridge—namely setting the action and intonation. In these examples we’ll be using a modern Nashville Tune-o-matic bridge. But if you have an ABR-1 or an Asian derivative found on some Epiphones, then since they have exactly the same levels of adjustability the procedures are identical. We’ll also briefly look at other possible Les Paul bridges, like the top-wrapping designs used on early models and the Floyd Rose floating vibrato that may be found on new models, such as the Les Paul Axcess range. We’ll also assume here that the vast majority of readers have relatively recent Gibson or Epiphone Les Pauls, in which case the necks and frets are likely to be in a pretty reasonable

Compensated wrap-over bridge

state, requiring little or nothing in the way of repair or adjustment. If you happen to be setting up an aged Les Paul

long as the radius of the bridge reflects the camber of the

or one which has been poorly maintained or treated, you

fingerboard, then this won’t pose any particular problems. If

really do need to check in tandem whether the neck relief

you were to look at a cross-section of a Les Paul neck you

needs adjusting, the frets need leveling, or the nut needs

would see that the fingerboard is not completely flat but has a

replacing. Making small adjustments to the bridge on an

slight curve, as are the frets that have been fitted. So for the

instrument in poor condition can be frustrating in the

action to be consistent over all six strings, the bridge needs to

extreme, requiring constant backtracking and repetition—

reflect that curve—and any Gibson bridge will do just that.

you’ll find that everything in this area is interconnected.

To check this out, we need a specialized guitar maintenance tool called a “radius gauge.” This is usually

NECK RADIUS

made from squares of metal with different sized curves cut

Correctly setting the height of the strings above the frets is

into each edge. Although these are easy to find online and

hugely important as it will govern how playable your guitar

shouldn’t cost you any more than seven or eight dollars, if

will be. Most players prefer a lower action as this makes the

you don’t have one, you can scan the full-size gauge that’s

guitar generally easier to play—although this does depend on

printed on the right and cut it out. It won’t be perfect, but

individual styles. A low action on your Les Paul is achieved

will be sufficiently good to make a couple of measurements;

mainly by adjusting overall height of the bridge.

you will need a proper set if you plan to do this on a number

Unlike some well-known guitars, with the Tune-o-matic

of instruments. (Note: Make sure that your printer doesn’t

mechanism it isn’t possible to control the height of individual

distort the shape of the curve—to check this, make a diagonal

saddles, but this really isn’t as big a deal as it might sound: so

measurement. It should be exactly 4 inches [101.6mm] from

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SIMPLE BRIDGE ADJUSTMENTS

57

THE TRAPEZE FIASCO The trapeze bridge fitted to the original 1952 Goldtop (see page 56) was a disaster. The saddle bar itself was not fixed to the body of the guitar but held in place by the relatively weak pressure of the strings, which were wrapped under rather than over the bar. This made the bridge mechanism very easy to knock out of position—all the more so if the player fitted light-gauge strings. It also made it particularly difficult to mute strings at the bridge, as many players liked to do. Les Paul himself claimed to have been critical of the original design

Gibson ABR-1 Tune-o-matic bridge

the moment he saw the first finished Goldtop, and was instrumental in having it changed the following year for the so-called wrap-over bridge.

4"

Floyd Rose floating vibrato bridge

7.25" radius

9.5" radius

corner to corner. Don’t use it if it isn’t because the curve that it gives you will be meaningless.) Les Pauls are known for having a fairly flat neck radius of 12 inches, compared to a 7.5-inch fingerboard on vintage Fender Stratocasters. (Standard neck radius always seems to be expressed only in imperial measurements.) This figure

12" radius

simply means that if you draw a circle using one of those two radii, the curve on the perimeter of the circle will match the curve of the fingerboard. Thus a smaller circle—as used on those old 1950s Fenders—will have a more rounded curve. You can test this out by applying all four curves on the radius gauge to the neck of your Les Paul. If you have a notched gauge this will have slots that fit around the strings; otherwise, if don’t want to slacken or remove the strings, you should still be able to ascertain the radius if you push the strings down and measure across one of the frets. In the example shown on the right, we have taken the 12-inch radius on the gauge and held it over the 12th fret— the octave. The radius gauge matches the curve perfectly.

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SETTING THE HEIGHT OF YOUR LES PAUL’S BRIDGE

Epiphone will have preset string heights reflecting a 12-inch

These next steps will show you how to adjust the overall

the correct action, the inner four strings will be at the correct

height of the bridge (and hence the action). We’ll devote most

height. If, on the other hand, you have a Les Paul which has

of our attention to the Tune-o-matic-style bridges with which

been retrofitted with a fully adjustable non-Gibson bridge,

the majority of Les Paul players will be most familiar.

then you will need to set not only the outer string heights—as

Setting the action for a Les Paul is not as arduous a

neck relief. This means that if you set the outer two strings to

shown here—but after that you will also need to set the

process as it is with some guitars, since Gibsons and

individual string heights of the four inner strings by placing

Epiphones have a far greater uniformity of neck camber. So

the radius gauge over the bridge and ensuring that each

any bridge designed specifically to work on a Gibson or

saddle reflects the curve of the gauge.

1

2

on the type of feeler gauge you have, you may have to double

upwards) then there needs to be some adjustment at the

up blades to reach some measurements.

bridge saddle.

3

4

accurate as using a gauge, but, in truth, this isn’t really an

to lower the height; counterclockwise to raise the height).

operation that particularly calls for scientific precision; an

Check the height again at the 12th fret and continue to adjust

approximate measurement is likely to be sufficient.

at the bridge if necessary.

Measure the height of the top E string above the 12th fret using a feeler gauge. On a standard Gibson 12-inch

radius neck, that should be a height of 4/64 inch. Depending

If you don’t have access to a feeler gauge then use a small steel ruler. Sit the end of the ruler on the fret and measure

the distance to the underside of the string. This will not be as

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Position the feeler gauge between the top of the 12th fret and the bottom of the string. If it’s either too high (there

is a visible gap) or too low (the gauge pushes the string

To alter the height of the bridge doe the top strings, turn the thumbscrew supporting the Tune-o-matic saddle at

the treble edge of the saddle. Give it a small turn—clockwise

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SIMPLE BRIDGE ADJUSTMENTS

In this example, we’ll set the bridge height according to Gibson’s own recommended figures for solidbody electric

SAGGING TUNE-O-MATICS

guitars. These are made at the 12th fret—the distance being

Heavy string pressure applied over many years can

measured is from the highest point of the fret to the lowest

cause older Tune-o-matic bridges to begin sagging

point of the strings.

in the middle. Even though this curving is likely to

Gibson recommends that this figure should be 4/64 inch for the top E string, and

6/64

inch on the bottom E string. Come

59

be small, it can affect the action, causing fret buzzing on the center two strings. The best way to

the end of the day, this is a matter of personal preference—if

reshape a collapsed Tune-o-matic is to use a clamp

you’re not happy with them set up in this way continue to

to apply pressure to middle of the underside. Take

experiment until you find something satisfactory.

two small blocks of wood and place them on a solid surface under each end at the saddle. Apply pressure by tightening the clamp.

5

Repeat Step 1 to Step 4, this time for the bottom E string. This time the feeler gauge needs to be set to 6/64 inches.

TUNE-O-MATIC INTONATION

There is, in fact, more to intonation than just string length.

A basic requirement of any fretted musical instrument is that

An incorrectly set nut—where a string slot is at the wrong

it should remain in tune wherever you play it along the

height—can also produce intonation issues, which will mainly

fingerboard. This crucial principle is called intonation. For it

affect notes played on the first two or three frets—open-string

to work accurately, the string length has to be in correct

chords in particular. If you are working with a well-worn

proportion to the positioning of the frets on the fingerboard.

guitar, follow these intonation procedures alongside those for

We know that by halving the string length the frequency is

setting the action at the nut (see pages 90–93).

doubled, raising the pitch by one octave. So it stands to reason that the frequency of the note at the half-way point

INTONATION TEST

along the string should be exactly the same as the note you

It’s likely to be evident to you already if you have a problem

hear when the 12th fret is played—since this is one octave

in this area, because even if your guitar seems to be correctly

(twelve half-steps) from the open string.

in tune at the open strings, when you fret notes further up the

All of the Tune-o-matic-style bridges found on Gibson or

fingerboard, they begin to sound “wrong.” Here’s a test for

Epiphone Les Pauls, as well as their locking-vibrato

you to try out. Tune your open strings. Play an E-shaped G

equivalents, also have a capability for altering the length (and

major barre chord with your index finger on the 3rd fret.

hence intonation) of each string: Tune-o-matics feature a

Now play a similar chord shape only this time on the 15th

horizontal adjustment screw; the Floyd Rose has a vertical

fret—which is G major only in a higher register. You would

screw that clamps the individual saddle in place. The original

expect to hear two perfectly sounding chords, separated by

Les Paul bridges—the trapeze and wrapover models—are far

one octave in pitch. If your intonation is poor, the higher-

weaker in this respect since they provide only an overall

pitched chord is likely to sound slightly out of tune.

length adjustment for bridge saddle, rather than the individual strings.

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To check your Les Paul’s intonation, we could measure the distance between the nut and the 12th fret, and then again

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CHAPTER 2 | BASIC CARE

between the 12th fret and the bridge saddle, and adjust until

moments to complete, and will give you an immediate

they are the same length, but here is a much more accurate

indication as to the state of your Les Paul’s intonation.

technique, which uses harmonics on the 12th fret (see Step 1

Start the process by checking and adjusting the top E

below) to achieve the same result. Step 2 shows you how to

string, and then, one at a time, work back across the other

adjust the string length. This test will only take a few

five strings.

1

2

it down against the fret. If you pluck the string with your

the horizontal adjustment screw at the front of the bridge by

right hand you will hear a sustaining bell-like tone.) With the

turning it counterclockwise. By tightening the screw you will

harmonic still ringing, now press the string down with the

shorten the string. Keep checking the harmonic against the

index finger and play the note on the 12th fret.

fretted note until correct.

Play a harmonic over the 12th fret of the top E string. (To do this, you place the tip of the index finger of your

left hand on the string directly above the fret, but don’t press

The two pitches should be identical. If the fretted note is sharp compared to the harmonic, the string needs

lengthening—and vice versa. To lengthen the string, loosen

INTONATION USING AN ELECTRONIC TUNER If you don’t have too much confidence in your ability to

meter indicates that the string is in tune—at a

match notes by ear, and have a very accurate electronic

frequency of 82.5 Hz.

tuner (or tuning software) on hand, you may prefer this

With the electronic tuner still active, play the note E

method of measuring the intonation. The principle is

on the 12th fret of the bottom string. If the meter on

much the same as in the example above, only this time

the tuner indicates the note is flat—slightly lower in

you are matching the pitch of the open string with that

pitch, as shown in the photograph below—then

of the fretted octave—the note on the 12th fret.

lengthen the string at the bridge by tightening the

With your electronic tuner switched on, play an open low E, and turn the peg on the headstock until the

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adjustment screw—turning it clockwise. Repeat until the intonation is correct.

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SIMPLE BRIDGE ADJUSTMENTS

TRAPEZE TAILPIECE

61

Adjust length using nut

If you’re lucky enough to own an original unadulterated 1952 Les Paul Goldtop, it will be fitted with a trapeze bridge. This crude mechanism consists of a horizontal saddle bar

Adjust height using thumbwheel

held in place by a wire trapeze secured at the base edge of the body. The saddle bar rests on adjustable feet at either end. These bridges were hugely unpopular: since the saddle bar was only held in place by string pressure, they were very much prone to lateral movement, meaning that accidentally pushing against the bar could easily send the whole guitar out of tune. And the string pressure was lessened by the strings wrapping under the bar. Adjustments to the Les Paul trapeze bridge are limited to overall height and length. To adjust height, follow Steps 1 to 3 on page 58, and alter the height using the small thumbwheel at either end of the saddle bar. Achieving perfect intonation on a Gibson Les Paul with a trapeze bridge is pretty well impossible since the saddle bar can only be adjusted at each end—turning the small nut clockwise will move the bar back, lengthening the string, and vice versa. The most satisfactory method is to start by getting the top and bottom strings correctly intonated and then

Trapeze unit bolted to the bottom edge

listening to how the four middle strings sound. The battle here is largely one of compromise and getting as many strings as you can well intonated.

Replaced by the Tune-o-matic in 1954 on some Les Pauls, the wrapover continued to be used on Les Paul Juniors. In 1960, intonation was improved with the introduction of the

WRAP-OVER TAILPIECE

compensated wrapover, with a raised ridge saddle for each

The trapeze tailpiece was replaced within a year by the

string (see page 56).

wrap-over tailpiece. Although this had the same constraints in adjusting action and intonation, it remains highly regarded by many Gibson fans who claim greater sustain and superior tone. The strings are threaded from the front and then wrapped over the top of the saddle bar. Action is adjusted using the two large screw slots at either end of the saddle bar—you can use a small coin or a large flathead screwdriver; string length is altered using the two horizontal grub screws; turning clockwise will bring the

FLOYD ROSE ADJUSTMENT To alter the action, take a flathead screwdriver to the two large screws at either side of the bridge; for string length, loosen the saddle intonation screw using a 2.5mm hex key, move the saddle to the correct position, and tighten the screw once again.

bridge back and lengthen the string.

Adjust height using coin

Adjust length using grub screw

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ADJUSTING THE PICKUP HEIGHT Most guitar players give little thought to the simple alterations that can be made to the Les Paul’s two humbucking pickups, most leaving them exactly as they were set up at the Gibson or Epiphone factories. Yet altering the distance between the magnetic poles and the strings can sometimes produce quite dramatic results.

THE POLE PIECES

If there are unexpected variations between the relative

The fundamantal rule of pickup height is also the most logical

strengths of each magnet after you’ve made this adjustment

rule—the closer the pole pieces of the pickups are to the

then you can compensate by raising the quieter pole pieces or

strings, the “hotter” or louder the output will be; if you move

lowering those that are louder. Most humbuckers will require

the pickup further away from the strings then the sound will

no alteration, although this can be useful if you use your own

be quieter. However, these adjustments can also have an

custom string sets.

impact on your tone. There are two distinct adjustments that can be made in

CHANGING THE UNIT HEIGHT

relation to the pickup. We can alter the overall height of the

The overall height of the pickup is controlled by turning the

unit in the body of the Les Paul or we can change the height

screws in the ring, on either side of the pickup. Turning one

of the individual pole pieces. (The poles are the six tubular

of these screws clockwise raises the height of the pickup unit

magnets that protrude from each coil and sit directly beneath

on that side. (Beneath the ring, the screw has a spring that

the strings.)

retains the height.) It seems logical to try to get the pickups as close as

INDIVIDUAL POLES

possible to the strings without making physical contact. This

The purpose of adjusting the individual pole pieces is so that

would, after all, guarantee maximum output. (In this pursuit,

the volume balance between the strings is correct. The pole

some have removed the covers of the pickups, desoldering

pieces should be set at a height that reflects the neck radius,

them from the lower casings (see page 134.)

so that the gap between the string and pole pieces is the same

There are, however, other factors to consider such as the

for each string. Steps 1 and 2 below show you how to do this.

strength of the magnets in the pickups: a strong magnetic

1

2

lower the height of the pole piece; counterclockwise will raise

a time; if there is a volume imbalance between strings, adjust

the height.

the offending pole pieces until the sound has been leveled out.

Take a small crosshead screwdriver to the two outer pole pieces. Screw them so that the domes protrude slightly

out of the pickup casing. (Rotating the screw clockwise will

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Take the 12-inch radius curve and rest it over the two end pole pieces. Raise the height of four center pole

pieces until they reflect the curve. Test out each string one at

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ADJUSTING THE PICKUP HEIGHT

force applied too close to the string may interfere with the

Pickup height, like so many other variables connected

vibration of the string and can also produce some very odd

with the Les Paul, is a matter that divides opinion. So the

harmonic effects. Moving the pickups away from the strings

only advice on offer here is to experiment until you find a

can definitely produce a warmer, mellower sound with a

tone that you like. A good place to begin, though, is with

greater degree of definition. (And don’t forget you can easily

Gibson’s recommendation of using a 1/16-inch gap between

make up that lost volume by upping the master output of

bridge pickup and the strings, and a 3/32-inch gap at the

your amplifier.)

neck pickup.

1

2

models.) This is the lowest the string can be depressed from

piece to the bottom of the string. Do this for the top and

the fingerboard, so it gives you the maximum height the

bottom strings only. This will allow you to revert to your

pickup could be set without making contact with the strings.

original setting if you’re unhappy with the new heights.

3

4

Take a heavy book and place behind the final fret on the fingerboard. (For nearly all Les Pauls that will be the

22nd fret, although there are a small number of 24-fret

We’ll first adjust the height of the bridge pickup. You can do this with the ruler if you want to, although the feeler

gauge, once set, does make for an easier life as you can hold it in place beneath the strings while you adjust the height screw. Set the feeler gauge to

1/16

inch and place it under the strings

Before you begin making any adjustments, as a safety precaution, take a short steel ruler and, for each pickup,

record the approximate distance from the top of the pole

With the feeler gauge held in place (here we’ve used pressure-sensitive adhesive), take a small crosshead

screwdriver and slot it into the screw on the treble side of the bridge pickup. Turn it clockwise to raise the height. Keep turning the screw until there is no gap between the top of the

on the treble side of the neck pickup. Hold the feeler gauge in

feeler gauge and the string. Repeat the process on the bass

place resting on the pole of the pickup. If there is a gap

side of the bridge pickup. Repeat Steps 3 and 4 for the neck

between the feeler gauge and the bottom of the string, the

pickup, this time setting the feeler gauge to 3/32 inch. Plug in

pickup needs to be raised.

your Les Paul and continue adjustments until you are happy.

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STRAP LOCKS

Strap fixture

Short of splitting pants, one of the most embarrassing things that can happen to a Strap button

performing guitarist is their instrument unhooking from its strap and crashing to the stage floor. You can avoid a damaged Les Paul (not to mention a damaged ego) by using a strap lock.

The Schaller Security Lock system

LOCKED IN PLACE

The two most common approaches to strap locking

A traditional electric guitar strap hooks to a button at the

make use of mechanisms that either slot in place over the

base of the body and another either behind the neck joint, or,

button or are fitted with screw-top locks. Whichever you

as is the case with the Les Paul, at the bass side of the upper

choose, they are very simple to fit, taking no more than ten

bout. With wear, though, strap holes can enlarge or tear, increasing the risk of it coming away from the guitar. (Although, quite frankly, most strap accidents are simply a matter of carelessness, the ends having not been looped fully over the button in the first place.) A number of guitar hardware manufacturers have come up with their own solutions for ensuring that straps stay in place. The most common approach is to fit a lock to each end of the strap that has to be clicked in place over the strap button. Since guitar buttons found on different brands of guitar come in many different shapes and sizes, these generally have to be replaced with a pair designed to fit the locking mechanism. Another simpler approach is to replace the existing strap buttons with a pair that are elliptical in shape, which make

1

Take a small crosshead screwdriver and carefully remove both strap buttons. Some Les Pauls will also have a felt

washer protecting the paintwork from the metal button.

the strap more difficult to get on and off.

2

3

new holes in the body. You can also use the original screw if

always a sensible idea to keep the original parts marked in

you wish, although, as in this example, it wouldn’t match the

small “grip-seal”plastic bags—you can buy these in most

replacement strap buttons.

stationery stores where they cost next to nothing.

The locking system should come supplied with several different-sized screws. Match the closest in length to the

screw you’ve just removed, so that you don’t have to drill two

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Screw on the replacement strap buttons using the existing holes. It’s up to you whether you insert the felt washer.

As with any modifications you make to your Les Paul, it’s

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STRAP LOCKS

minutes of your time, should cost no more than around fifteen dollars, and are well worth the investment for the security they offer.

65

LOCKING STRAPS The advantage of using systems like the Schaller

In this example we’ll fit a pair of Schaller Security Locks to

Security Lock—or similar products made by

a leather guitar strap—at the same time we will also replace

Dunlop (Straplok), Ernie Ball (Super Locks),

the standard Gibson strap buttons found on the Les Paul with

Fender (Strap Lock), and others—is they can be

a pair designed to fit the Schaller mechanism.

fitted to any guitar strap. The downside is that these are all proprietary designs and are generally not interchangeable, so if you have a number of guitars and straps that you want to make lockable then you need to select one product and stick with it. There is an alternative, however, and that is for the locking mechanism to be built into the strap itself. Locking straps are available from a number of manufacturers, including Planet Waves (see below), Eagle Mountain, Steve Clayton, and Lock-It. Each maker uses a slightly different system but they are all based on the same idea— you slip the strap over the button and engage a mechanism which clamps the strap in place. The Planet Waves Planet Lock uses a small

4

Unscrew the hexagonal nut from the strap fixture, at the

locking dial which closes the hole, making it

same time as removing the washer. Thread the fixture

impossible to remove the strap until the dial has

from the rear of the strap through the hole, place the washer

been disengaged.

over the thread, and then screw on the nut by hand until it’s reasonably tight—at this point it should still be possible to rotate the fixture in the strap. The opening in the strap fixture slots over the button, so it will be pointing toward the end of the strap. When the angle is correct, tighten with a spanner.

5

The Schaller mechanism features a spring-loaded column with a rounded knob at the top. To fit the strap, start to

slide the open end of the fixture over the button and then pull back the knob so that it can slot in place. When you release the knob, the strap will be locked. To remove the strap, pull back the knob and slide off.

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CHAPTER 2 | BASIC CARE

CLEANING YOUR LES PAUL Maintaining a clean Les Paul will not only give you a nicer looking guitar but also one that performs better. It will prevent the hardware corroding and your strings will last longer. The frequency and extent of your cleaning depends largely on how often you play and how the guitar is stored; if it hangs on your wall when not in use, then it will accumulate more dust and grime than if you keep it in its case. We suggest a simple, regular routine that requires no more than a duster and perhaps some string cleaning fluid, and then a more rigorous “spring clean” performed about once a year.

THE LES PAUL AT REST

POLISH OR NOT? As unavoidable as the everyday dust and grime that floats through the air may be, far and away your guitar’s greatest foe is your own sweat. The salt and other chemicals that escape through the pores of your skin may not only corrode your strings but also other metal parts with which they come into contact. For this reason it’s always a good idea to give your guitar a quick clean every time you use it. Some manufacturers produce special polishes for guitar bodies, but if you maintain your guitar regularly, the body, headstock, and back of the neck should require little more than a soft cloth. Anything greasy that accidentally gets onto the body of the guitar should be wiped off immediately or else can be cleaned off with a naptha-based solvent. Don’t use household furniture polishes! Most of them contain silicone and other chemicals which can damage the nitrocellulose lacquer used on your Les Paul.

degrees. This means that, unlike a Fender electric guitar, if you lay a Les Paul down on a flat surface it won’t rest flat on the back of its body; instead, it will be supported at one end by the bottom edge of the body and, at the other, by the tip of the headstock. This makes the intersection of the neck and headstock very vulnerable to stress. (Historically, in fact, this is where almost all neck breakages have arisen on Les Pauls.) The golden rule is quite simply that you should never leave a Les Paul laying horizontal on a solid flat surface, such as a floor—even if you’re not exerting pressure on the fingerboard from above. Just resting the guitar on those two ends for any length of time will be enough to cause stress at the joint.

EVERYDAY CLEANING Get into the habit of giving your guitar a quick clean after use. The steps below use a simple dry cloth; if there are light grease marks you can dampen the end of cloth with a solution of lukewarm water and washing up liquid.

1

Always keep a soft cloth in your guitar case. Wipe down the surface of the body, especially the parts that come into

contact with your fingers.

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The headstock of a Les Paul is angled at around 30

In the photographs shown here you will see that we’ve positioned a cushion under the body and neck so that the headstock doesn’t come into contact with any surface.

2

Wrap the cloth around the back of the neck and rub it along the full length a few times. Dampen the cloth in the

solution if the back of the neck is too sticky.

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STRING MAINTENANCE If you play your guitar for long periods it’s worth giving your strings a more regular, thorough clean, since wiping them with a cloth won’t necessarily penetrate into the string windings where dead skin cells can lurk. A dedicated string-cleaning liquid is probably the safest approach to take. String cleaning needs to be done carefully on a Les Paul because most models have unfinished rosewood or ebony fingerboards that are

3

Take the cloth to the front and back of the headstock and

capable of absorbing liquid. The best way I've

over the tuners. Make sure that you wipe each individual

found is to take a dust cloth and slide it beneath

tuning peg.

the strings before you apply the fluid—this way it won’t come into contact with the fingerboard. There are many string cleaning products on the market, each one claiming to combat the impact of your sweaty digits. Simply dab a little on a cloth, wrap it around the end of one of your fingers, and then clean one string at a time, running it the full length. Then wipe the strings again with a clean cloth.

4

Wrap the cloth under the strings and pull it the length of the fingerboard, cleaning both wood and the bottom of

the strings. Now unwrap the cloth and slide it beneath the strings so that it covers the full length of the fingerboard. This will protect the wood when you clean the strings.

Guitarists have used plenty of different approaches to keeping their strings clean over the years. WD-40 spray is often used; that’s actually fine for the strings and metal hardware, but it needs to be kept away from the untreated fingerboard. Furthermore, as it’s a petroleumbased product, it can react badly with the body finish if left for a long time. Also, do you really want your guitar smelling of WD-40?

5

On a day-to-day basis, you can wipe down the strings with a cloth, but it’s a good idea to clean them regularly

with a specially prepared fluid or pad (see right).

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Keeping your strings clean, though, will not only lengthen their useful life and save you cash, but they’ll also sound brighter for longer.

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THE BIG CLEAN

production guitar, a Gibson Les Paul is up near the top; buy

Periodically it’s a really good idea to give your guitar a

a new Gibson now, look after it well, and in ten years time

serious once-over, cleaning it thoroughly and checking that

it’s likely to be worth more than you paid for it—how many

it still plays and sounds the way you like. It’s regular

musical instruments can you say that about?

maintenance like this that will not only keep your guitar in

Take a look at the checklist on the left. Although it may

top condition, it can also help circumvent future troubles,

seem hefty, it should take no more than an hour of your

such as rusting metalwork and damaged wood. Don’t

time. Most of the body and hardware cleaning steps are

forget, as far as investments go when buying a new

shown here and over the page; the electrical cleaning segments are referenced elsewhere in the book.

THE BIG CLEAN CHECKLIST

How often you should do this depends on how much action your Les Paul sees. For “home” players, once a year

1. Remove strings

should easily be enough; if you’re out playing in sweaty

2. Vacuum fingerboard

clubs three nights a week, then you might want to work

3. Vacuum body hardware

through the list more often.

4. Vacuum headstock and tuners 5. Wipe body/neck with water/detergent/naptha 6. Remove bridge and tailpiece 7. Clean bridge and tailpiece with brush/naptha 8. Clean pickup covers with naptha 9. Clean strap buttons with naptha 10. Clean pickguard/knobs with water/detergent 11. Clean tuners with naptha 12. Scrape edges of frets 13. Remove fingerboard grime with wire wool 14. Apply conditioner to fingerboard 15. Wipe residue from fingerboard

1

Use a vacuum cleaner with a soft brush attachment on the fingerboard (pushing down over the frets) and all of

the metal parts—the bridge, tailpiece, and tuners.

16. Clean nut with naptha 17. Check tuners—adjust if necessary (page 96) 18. Clean output socket (page 72) 19. Unscrew main backplate 20. Carefully vacuum around the electrics 21. Clean potentiometers (page 119) 22. Reattach backplate 23. Unscrew rear switch cover 24. Vacuum around the switch hole 25. Clean switch (page 119) 26. Reattach switch cover

2

A toothbrush can used to get in between the small

27. Restring the guitar

crevices in the bridge saddles. If you use a soft toothbrush

28. Plug in and test

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you can go at it quite vigorously.

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NAPTHA A naptha solvent is useful for all kinds of cleaning functions, although it does need to be used with care. Since the fumes can be toxic you should always use it an open, ventilated space. It’s also highly flammable. To be completely safe you should wear a mask, gloves, and safety glasses when using naptha or other solvents. One of the most widely used brands of naptha

3

Do the same with the tail stop, tail stop posts, bridge posts, and the tuners.

solvent is Behlen; since the company specializes in musical instrument care products you can feel comfortable that it won’t harm your guitar. Many guitarists in the past have used lighter fluid for this kind of cleaning, although in recent years, the most commonly used brands such as Ronsonol and Zippo have changed their formulation and no longer contain naptha, making them useless for this function. If you've used lighter fluid in the past, it’s a good idea to check the composition on the back of the tin to see if it still contains naptha. Naptha is particularly good for cleaning metal hardware. It will also get really unpleasant

4

Use naptha solvent solution or spray to clean all of the metal hardware. This will remove grease and smears.

Get as little as possible on the body of your Les Paul; wipe off any residue as it can damage the nitrocellulose finish if you leave it.

gunk off the body and neck of your Les Paul, although Gibson only recommends its use in small amounts. Instead they suggest their own brand Pump Polish. There’s a surprise!

LOOKING AFTER THE FINGERBOARD Since the fingerboard is the part of the instrument that

STEEL WOOL

comes into contact most frequently with your skin, it’s also the area that will attract the most sweat, dirt, and grime.

Steel wool (or wire wool) is a material comprising

Consequently, your major cleaning regime should really

bundles of extremely fine, sharp-edged steel

address the accumulation of undesirable materials that build

filaments, and is used as an abrasive in polishing

up over time along the edges of the frets, as well as dirt on

wood or metal. It comes in a variety of grades

the fingerboard itself.

from 4 (extra coarse) to 0000 (super fine). At

While plenty of guitar repair professionals and techs are

various times we’ll be using wire wool to polish

pretty skeptical about the need for special polishes for the

frets and corroded parts, as well as for cleaning

body, most have a preferred treatment for the fingerboard.

grime off the fingerboard. For the purposes of

This is not so surprising since any wood left deliberately

guitar maintenance you should only be using

without varnish or lacquer—such as the fingerboard on a

grade 0000—which is pronounced “four ought”—

Les Paul—will require “feeding” or conditioning.

as anything higher may cause damage.

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CHAPTER 2 | BASIC CARE

1

If the guitar has been used only moderately and mostly around the home, then you might just be able simply to

clean the fingerboard with a slightly dampened paper towel— your own saliva is as good as anything for this operation. For slightly heavier grime, use naptha on a rag and leave for a few minutes before cleaning it off. A simple trick for scraping off heavy dirt is to use the edge of a credit card or a ruler (see right). Push down between the frets and wipe off the accumulation with a dampened paper towel.

2

There is also likely to be a build-up of grime along the edge of the most heavily used frets, which left alone can

speed up their corrosion. A good starting place is to wrap a paper towel over the tip of your thumb and run the nail firmly along each side of the fret. You’ll be surprised at the accumulation of dirt. For a more thorough cleaning of the fingerboard and frets use grade 0000 wire wool (see left). Go with the grain of the wood (sideways strokes may cause visible scratching) and push hard into the corner of the fret.

3

Once you’ve cleaned the dirt off the fingerboard it’s time to condition the fingerboard. This is especially important

if you’ve used a solvent such as naptha as these will draw natural oils from the wood. Use lemon oil (which is largely scented mineral oil) or other specialized potions. Pour a few drops on a clean rag and apply it to the fingerboard (see right). Leave it to penetrate for a few minutes and then wipe it off with a paper towel. Finally, you can give the fingerboard a good buffing with a clean cloth.

CONDITIONING THE FINGERBOARD On the vast majority

color; you might also notice the edges of the frets

of Gibson Les Pauls

beginning to feel slightly jagged. Ebony fingerboards

the fingerboard is cut

are generally much hardier.

from unfinished

As with body polishes, there are numerous

ebony or rosewood.

specialized fingerboard fluids available, with no clear

This means that from

consensus on which is the best one to use. Lemon oil

time to time the

is far and away the most commonly used type of

wood needs to be

conditioner, but even then there are some who

treated to protect it

suggest that if overused it can react with and

from the ravages of human sweat and the local

corrode the fret wire. Note: There are certain lemon

climate. The biggest danger is of the wood drying

oils that are intended for use with furniture—avoid

out, making it split or crack. Clear evidence that this

these as they are likely to contain unwanted

is happening on a rosewood fingerboard would be

additives. This is one occasion for sticking with

the sudden appearance of random patches of fading

products created specifically for the guitar.

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CLEANING YOUR LES PAUL

71

GRIME AND PUNISHMENT So what do you do if you find yourself in possession of a guitar that’s been poorly treated in the extremeor has spent years laying around, exposed, in someone’s basement or attic? However it may look right now, as long as the neck isn’t warped or badly skewed, it can be cleaned up and rescued. For this kind of extreme action you’ll need not only your trusty can of naptha solvent but also probably a rust removal agent (Loctite Naval Jelly is excellent), a household oil (such as 3-In-One), and wire wool (or a rotary tool with a wire wheel). PLASTIC PARTS Remove the knobs, switch tip, and INITIAL STATE Hold the guitar as if it were a rifle,

pickguard and leave them to soak in a bowl of

aligning your eye along one side; flip it over and

lukewarm water mixed with a drop of detergent.

look at the other side. If the neck is seriously bowed

Wash them vigorously and then dry them off.

then however much you adjust the truss rod it might be too damaged to fix. Now swivel the guitar so that

TUNERS AND OTHER METAL PARTS If these show

it’s horizontal, and you can see whether the

signs of rusting, discoloring, or corrosion then they’ll

fingerboard is perfectly flat. If it is “in twist,” then

need treatment. If the tuners are just dirty then make

the neck won't be playable. This would mean a

up a mix of three parts naptha to one part household

complete replacement job, which is something best

oil (such as 3-In-One), put a little on a rag and give it

left to the professional, considering Gibson’s glued

a vigorous rubdown.

and jointed necks.

If the tuners look in a horribly poor state and won’t turn easily, then don’t force them or else the

BODYWORK Wipe it down with a rag, removing as

pegs may snap off. Begin by applying some naptha

much of the loose dust as possible. This will enable

to the screws, which should enable you to remove

you to see what kind of state it’s really in. For any

them from the headstock. Soak the tuners and the

mold or other residue, mix up a small bowl of water

screws in a bowl of Naval Jelly for about twenty

with detergent, slightly dampen a cloth with the

minutes and then take them out, dry them off, and

mixture, and go at the bodywork vigorously. For

oil them as above. The bridge, tailpiece, and strap

thickset grease and grime, apply a small amount of

buttons can be treated in the same way.

naptha to the affected area, leave it for a few

To remove any residue, a small wire brush will be

moments, and then rub it away. Repeat for the back

useful. If you have a rotary tool, use a wire wheel—

of the neck and the headstock. Now you should be

although set it to a slow speed. (Dremel, the market

able to see the serial number, so you can check that

leader in this area, produces an endless variety of

it isn’t a 1959 Standard inexplicably left in a loft for

useful cleaning and polishing attachments.)

half a century. (We can dream!) If the woodwork is basically sound then the guitar NECK AND FINGERBOARD Follow the “Big Clean”

really can be rescued without heavy duty workshop

steps. If there are open cracks in the fretboard this

effort. If you don’t fancy a few hours of rust

would indicate that the wood has dried out. Any

removal, a set of replacement tuners, a new bridge

oxidization or verdigris on the top and side edges of

and a tailpiece can be bought for less than one

the frets should be removable with grade 00Jr00

hundred dollars. That said, there is a lot of

wire wool but if the growths are too “solid” then the

satisfaction to be had in renovating and bringing a

frets will need replacing. (See page 88.)

guitar with all of its original parts back to life.

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SIMPLE ELECTRICAL CLEANING

Every guitarist will at some time experience

It’s inevitable that at some stage your guitar will

chained set of pedals and switches between the

suffer from some kind of electrical malfunction—

guitar and amplifier then the potential for this

CABLE WOES problems with the signal path from the guitar into the amplifier. Nine times out of ten this will be the result of a damaged cable; if you run a daisy

buzzing and humming, sound intermittently cutting out, or crackling noises when you turn the

trouble is magnified. So before you start worrying about your guitar, check your cords. It may be worth investing in a dedicated cable testing unit—

volume and tone controls or flip the selector

these cost as little as fifty dollars—or you can do

switch. In most cases these can be addressed

it using a basic multimeter (see page 115).

without having to do anything drastic with a soldering iron or multimeter.

CLEANING THE OUTPUT SOCKET The humble quarter-inch jack socket found on almost every electric guitar is the means by which the signal from the pickups travels—via the Les Paul’s internal circuitry—to the amplifier. Its role is simple but critical, but it can sometimes become a problem, producing unpleasant crackle and hum noises. You can usually tell if the problem is related to the output socket as every cable you connect will crackle to some

Behringer multifunction cable tester.

degree if you disturb the plug in the socket, although do thoroughly check your cables first, as they will be the most

REMOVING THE OUTPUT SOCKET

likely cause of any sound issues. In most cases this can be

Over time, it’s possible for the contact points in the output

sorted by taking a few simple cleaning steps. The ultimate

socket to become worn, oxidized, or clogged by grime or

fix—the removal and replacement of the socket—is more

rust. To fix this you will need to remove the socket but

advanced and so is covered in a later chapter (see page 124).

without disconnecting the internal wiring.

1

Begin by giving the socket a quick clean. Take a can of electrical contact cleaning spray and place the nozzle

close to the socket. Apply a small amount of the spray.

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2

Take a cotton swab and poke it around thoroughly on the inside of the socket, making sure that you push hard

enough to clean all of the contact points.

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SIMPLE ELECTRICAL CLEANING

1

2

very easy to lose.

and slide off the cover.

3

4

tube so that it is small enough to insert into the socket.

residue with cleaning spray, reassemble the socket, and test.

Take a small cross-head screwdriver and remove the four tiny screws that hold the socket cover in place. Make

certain that you keep the screws somewhere safe—these are

Take a small piece of the sandpaper and carefully rub away at the tip of the “hot” connection point inside the

socket. Blow away any residue. Now roll the sandpaper into a

73

Gently pull the socket panel away from the body. Place a 7/16-inch (11mm) spanner over the nut and turn

counterclockwise until it comes away. Remove the washers

Insert the sandpaper into the socket. Move it around vigorously so that surface of the sandpaper makes

contact with the inside of the socket wall. Remove any

KEEPING YOUR BITS SAFE Make sure that any parts you take off your Les Paul are kept in a safe place—and mark them if necessary. It's always a good idea to keep a small container at hand for these delicate operations. Failing that, for small crews, a strip of sticky tape will prevent those tedious moments spent scouring the floor with a flashlight.

3

Take a jack cable, plug one end into the Les Paul’s output socket and wiggle it around inside. You can now plug

into your amplifier to see if the problem has gone.

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STORAGE AND TRANSPORTATION Even when it’s not being played, your guitar needs protecting, whether it’s in storage at home, in the studio, or being moved between locations.

OPEN AND SHUT CASE Even though many of us grew up with our guitars propped precariously against our bedroom walls, there can be little doubt that the best way to look after your instrument when it’s not being played is to keep it packed away. Every new Les Paul comes with a specifically designed hard shell carrying case. Sturdy, made from vinyl-covered wood, and built to the exact shape of the Les Paul, this is the ideal place to keep your guitar when it isn’t being used. Apart from cosmetic protection, the fur-lined padding also acts as something like a duvet, limiting some of the impact of changes in temperature and humidity. Many of the lower-priced Epiphone Les Pauls come in little more than a corrugated cardboard box. This is unsurprising since, when bought separately, a standard Gibson hard shell case may not cost much less than the Epiphone itself. For guitars like this you should at the very least get hold of a gig

All new Gibson Les Pauls come with a padded hard shell case

bag (see page 75). These are made from padded canvas and

contoured to match the shape of the body.

include a variety of handy zipper compartments for keeping cables, picks, and other bits and pieces. They’re lightweight

If you really want to go for all-out protection, the

and will provide your instrument with a very basic level of

ultimate solution is a flight case. As the name suggests, this

protection from everyday knocks and cosmetic scratches. If

kind of case is designed to protect a guitar from anything

you accidentally drop it down a flight of stairs, however, then

that the most careless airport baggage handler might do to

it’s unlikely to emerge unscathed.

it. Usually built from aluminum, with very heavily protected

THE STRING-SLACKING MYTH There’s a common idea that if you plan to leave a guitar

climate, the neck becomes used to a consistent tension.

in storage you should completely slacken the strings to

If strings are slackened or removed for a long period, the

alleviate tension on the neck. This is most likely a practice

truss rod will still be exerting its counter-tension on the

that harks back to the days before guitar necks were

neck. On this basis, if you remove strings for a long

fitted with a metal support in the form of a truss rod. A

period of storage then, logically, you should also reduce

modern guitar is designed so that, when in tune, the

the tension of the truss rod. In short, though, there’s no

string tension is offset by the truss rod. (This is why

compelling argument for this practice at all.

moving to heavier string gauges can require the resetting

However, if you’re traveling between locations where

of the truss rod to prevent further bowing of the neck.)

the temperature or humidity is likely to shift quickly—as

This means that completely slackening the strings won’t

would be the case on an aircraft—you should tune the

benefit the neck at all. In truth, the reverse is more likely

strings down by something like a step—strings are

to be the case: just as a guitar likes an unchanging

heavily affected by climate and so might snap in transit.

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75

HOW NOT TO STORE YOUR LES PAUL Since guitars are created from wood, they are very responsive to extremes of climate. As far as the safety of a guitar is concerned, this is a matter of concern. To paraphrase an old saying, never expose your guitar to a temperature or humidity to which you wouldn’t be prepared to expose yourself. The ideal temperature range for a guitar should be between 65–75 degrees Fahrenheit. For humidity (or “relative humidity” to use the correct term) the figure should be somewhere between 45–55 percent. The different types of wood typically used in a Les Paul can easily adjust to moderate conditions,

Your Les Paul once looked a bit like this—mahogany tree (left); rosewood tree (right). These matters need to be considered when you

but sudden extreme

are not playing your guitar. Some of this may seem

shifts will cause stress,

like plain common sense, but it needs to be said: if

drying, expansion, or

you hang your guitar in direct sunlight, leave it

contraction of the wood.

exposed in a car during hot summer days or frozen

This can result in neck

winter nights, leave it outside in the rain, or rest it

warping and cracks.

above (or against) a radiator or heater, your

Particularly vulnerable

instrument will be wrecked before you know it.

are glued joints, such as

Prolonged exposure to direct sunlight will cause

where the neck meets

dehydration, resulting in brittleness in the woods

the body or the

(and especially the fingerboard). Over time, you will

fingerboard is attached

also begin to notice discoloration and fading in the

to the neck.

guitar’s finish.

A canvas gig bag will keep a guitar clean and protect it from

If you travel by air, an aluminum flight case will provide

minor dings and scratches.

maximum protection for your Les Paul.

corner-pieces, top-quality flight cases can easily cost in excess

While the ideal for a Les Paul is one that fits perfectly around

of five hundred dollars, and they’ll weigh about four times

its shape—and there are many similar but cheaper

that of a hard shell case. For professional musicians who

alternatives to those made by Gibson—any design you

travel and gig extensively, this kind of protection is a

consider will have to allow for a body width of at least 13

necessity, but perhaps overkill for most amateur players.

inches. Above all, however, any hard case you use with a Les

Pretty well any electric guitar will fit happily into any style of gig bag. The same is definitely not true of hard shell cases.

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Paul must provide support that lifts the neck sufficiently to accommodate the angled headstock.

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CHAPTER 2 | BASIC CARE

The Hercules Tri-Stand will support three instruments

The Planet Waves Guitar Dock clamps to the

and is useful both at home and on stage.

edge of any table.

GUITARS AT REST What is the most common cause of accidents to guitars? It’s when they’ve been propped up against a convenient vertical surface before toppling over or sliding onto the floor. We’ve all done it, and it’s horrible when this happens—a moment’s thoughtlessness and there’s a ding on the edge of the body, a bent tuner, or, if you’re really unlucky, a Les Paul with a snapped headstock. You can avoid this kind of thing happening easily enough by keeping a guitar stand handy in your playing area. There are other possibilities, such as wall hangers (see page 78) or gadgets like the Guitar Dock (see above) which can temporarily turn the edge of any desk or table into a stand— especially useful for recording sessions. If you don’t want to put your guitar back in its case, then at least let it rest on a soft surface like a sofa or bed.

D’Addario’s Guitar Rest can sit on any small ledge.

.

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STORAGE AND TRANSPORTATION

77

HUMIDITY AND YOUR GUITAR Relative humidity is a measure of air moisture. Specifically, it’s the ratio of the amount of moisture in the air at a specific temperature to the maximum amount of moisture the air could hold at that temperature—and that ratio is expressed as a percentage. As the temperature increases the spaces between the water molecules also increase, making the air able to hold more moisture. Relative humidity depends on your regional climate: at 75.9 percent, New Orleans has the highest average relative humidity of any city in America; at the other end of the scale, Las Vegas has only 30 percent. It’s also seasonal, falling dramatically during the winter months. All of which

Simple hygrometer (left); Air-O-Swiss programmable room humidifier (right)

poses a number of problems for the guitarist. Every Les Paul produced at Gibson’s factory in

Regional climate is not the entire story, though, since

Nashville is built in a strictly controlled environment,

the humidity of any home will also be impacted by air

with an overhead irrigation system that periodically

conditioning, heating systems, and the way in which the

spritzes water into the air to maintain a relative

space is ventilated.

humidity of 45 percent. Surprisingly, though, not too

Begin by getting hold of a basic hygrometer, which

many guitarists give much thought to the impact their

you can find in any hardware or electrical store, and take

home environment has on their instruments. And it’s a

some measurements of your own. For this to work you

topic worth investigating.

need to cover the extremes of your environment. The

It’s generally reckoned that the optimum humidity for

measurements will suggest if there’s a problem.

a guitar will be between 45–55 percent. Instruments

There are two approaches you can take to controlling

exposed outside of that range can suffer a variety of

domestic humidity. If you store your instruments in their

issues (see table below). It’s true that with their delicate

hard cases—and that is the safest way to look after

construction, acoustic guitars are more susceptible to the

them—then a number of manufacturers make miniature

effects of humidity, but solidbody electrics are by no

humidifiers designed to fit into the case. Some of these

means immune.

were developed from cigar humidors, and either use gel

HUMIDITY + 60 percent

IMPACT Tarnished strings and frets; corrosion to plating of nickel/chrome/ silver hardware; binding separation.

45–55 percent

Ideal conditions.

40 percent

Fingerboard cracking; sharp fret-ends.

- 30 percent

Wood begins to dry out; shrinkage may be evident; sharpened fret ends more pronounced or fret lifting.

systems or water to control humidity, although most of these are aimed at protecting acoustic guitars. If you have a larger number of instruments, or you store them on wall hangers, a more workable solution is to buy a room humidifier. You can pay anything from fifty dollars to five hundred dollars, but they essentially all do the same thing. Make sure that the unit you choose is appropriate to the size of your room—it’s actually a good idea to buy one for a slightly larger room, as that way you can run it on a slower speed and won’t have to refill the tank with water so often. You should also make sure that it has a “humidistat” so you can program specific relative humidity figures. You’ll not only be giving your guitars a new level of protection, but, in the winter months when central heating causes dryness in the air at home, it will also make you’re skin feel really nice!

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CHAPTER 2 | BASIC CARE

GUITAR HANGERS Okay, we’ve already said that keeping guitars in their cases is much the safest storage option. For many of us, though, guitars are not only musical instruments but objects of art, and as such, we like to have them on display. So long as the guitars are not hanging in the sun or above a heater or radiator, they’ll be safe enough suspended from a guitar hanger. The downside is that they’ll be exposed to the open air the whole time and so will need regular dusting and cleaning—whether or not they are actually used. You needn’t worry about dangling your valuable Les Paul from its headstock; the amount of tension it places on the neck is only a fraction of that applied by the guitar strings. Here is how to affix a guitar hanger on a wall.

1

Hangers usually have a three holes. For maximum support, two of them should be horizontal at the top.

Take a spirit level and ruler and draw a straight line.

Headstock rests in the “arms” of the hanger

2

Take the hanger and mark the holes. Drill the three holes using a ceramic drill bit. For solid walls, tap in three wall

plugs; for stud walls you’ll need to use metal lugs which open out on the other side of the plasterboard wall.

3

4

plugs on a stud wall—they won’t support a guitar’s weight.)

wrap a cloth around the headstock before hanging.

Screw the wall hanger onto the wall. If using metal lugs, they will usually consist of a threaded mechanism, so

these will have to be bolted in place. (Never use ordinary wall

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You can now hang your guitar on the wall. Some Les Paul owners worry about nitrocellulose finishes reacting

with the rubber protector on the arms of the hanger, and so

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79

TRAVEL WITH YOUR GUITAR In June 1965, a young Mike Bloomfield showed up at

AIR TRAVEL Taking a guitar on an aircraft used to be a

Studio A of Columbia Records in New York City to play

nightmare, the standard rock star method being to buy

on sessions for Bob Dylan on what would become the

two seats, one for him and one for the guitar. More

album Highway 61 Revisited. He walked in with his

recently, this was made somewhat easier when

guitar hung over his shoulder, dripping wet from an

President Obama signed into law the FAA

afternoon shower. After wiping it down with a towel,

Modernization and Reform Act of 2012, which explicitly

he plugged into one of the studio amps, and proceeded

states: “An air carrier providing air transportation shall

to make a little bit of musical history. He may have

permit a passenger to carry a violin, guitar, or other

been at the vanguard of American blues-rock, but

small instrument in the aircraft cabin.” It also clarifies

Bloomfield clearly cared little about the welfare of his

that this is only valid if “there is a space for such

guitar. (He eventually lost his famed, battered, and

stowage at the time the passenger boards the aircraft.”

bruised 1959 Les Paul Standard, having, according to

In spite of the law, it still doesn’t seem to be uniformly

one tale, simply left it behind after a gig in Toronto.)

accepted and the process is still fraught with plenty of

Most people nowadays have a better idea of how to

potential problems that should be considered.

treat an electric guitar, but if there’s one rule to follow it should be this: any travel involving a guitar must also

1. Check the airline’s musical instrument policy before

involve a guitar case!

you book your flight, and print a hard copy. There are

Taking a guitar on most forms of transport is a fairly

numerous stories of musicians being told at the

safe business, with the notorious exception of air

departure gate that their guitars will have to go in the

travel, but even that seems to be getting a little easier.

luggage hold. If possible, get written confirmation from the airline that you will be permitted to take your guitar

AUTOMOBILE There’s little to worry about here except

as hand luggage.

preventing the guitar case from sliding around inside the car. Laying the case longways in the rear seat well

2. The guitar case dilemma. If you could be absolutely

is a tried and tested method; it’s been known for

guaranteed that your guitar would go on as hand

guitars to travel in the passenger seat strapped in by

luggage, then a well-padded gig bag would be sufficient

the safety belt.

to go in the overhead lockers and would make life easier for all parties involved. However, if it was not allowed

MOTORBIKE Some gig bags can be worn rucksack-style

on for any reason, a gig bag would provide scant

on the back. A hard shell case can be strapped onto

protection in the luggage hold. So take the most solid

bikes with rear luggage compartments. Make that very

case you can afford and pad the guitar inside as much as

heavily strapped!

possible—you can use some of the clothes you’ve packed, like underwear, socks, and T-shirts.

BICYCLE A gig bag worn rucksack-style is often seen, but might be a little on the risky side. It can affect your

3. Don't overcomplicate the packing. You may have to

balance on the bike, and if you fall off, both you and

unpack again for the x-ray machine at security.

the guitar are likely to be damaged. A hard shell case in a bike trailer is a much safer option, but it needs to be

4. Tune the strings down by about a half-step or two—

strapped in.

this will stop strings snapping because of changes in temperature and humidity.

BUS, COACH, AND RAIL Very safe. The guitar case can either be stored in the seat alongside you or in an

5. If you book your seats in advance, go for the back of

overhead rack. Avoid the luggage hold on coaches if

the plane—these usually board first. (The most likely

you can, especially if your guitar only has a gig bag

reason your guitar case will be rejected is because

for protection.

overhead locker space runs out on full flights.)

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3 ADVANCED MAINTENANCE This chapter looks at the mechanics of the Les Paul, in particular how to set it up to play in a way that suits you best. We’ll look at adjusting the action, intonation, and neck relief; how to replace damaged nuts and frets; and how to install different vibrato units.

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ADJUSTING THE NECK A surprising number of guitarists shy away from making adjustments to the neck, fearing, perhaps, that they may create more problems than they solve. Here we’ll show you can improve the playability of your Les Paul by altering the curve of the neck through adjusting the truss rod. Les Paul Studio Pro with slight concave neck relief

NECK RELIEF If you hold your Les Paul like a rifle, with your eye aligned with the edge of the fingerboard, you will get a clear indicator of the contour or “relief” of your guitar’s neck. The model on the right shows a very slight curve in the neck, which most players actively prefer. This gives the strings more room to vibrate—around the main antinode where there is maximum open-string vibration—without touching the frets, and is recommended if you strike the strings hard. Gibson has been producing guitars with truss rods since 1926, and they are accessed at the headstock by removing the bell-shaped cover to reveal a 5/16-inch nut. If you bought your Gibson Les Paul

Truss rod cover

new, then the package will have included a truss rod key (see below). If you don’t have the key it’s a sensible idea to buy

Les Paul Studio Pro headstock

one, since a standard 5/16-inch wrench is likely to be too wide to fit comfortably in the cavity, and you may well end up

at the current relief and making a simple visual judgement to

damaging the nut. It’s simpler for Epis, which will generally

those that involve making detailed measurements. This

take a standard 4mm hex key.

method is quite simple and sits somewhere in between. You will need a capo, a feeler gauge, and a truss rod key.

ADJUSTING THE TRUSS ROD Let’s look at how to make a truss rod adjustment for a 2014 “120th Anniversary” Gibson Les Paul Studio Pro. There are numerous ways of setting the neck relief, from simply looking

1

Look down the edge of the fingerboard and assess the curvature on the neck, so that you can see, within a little,

how much adjustment needs to be made.

Gibson truss rod key

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2

3

safe place along with the screws.

with a strong elastic band.

4

5

probably too much relief or curvature; if it’s less than 0.008,

turn the key clockwise to remove some of the relief; if the

the neck may be too flat and result in fret buzz.

action is too low, turn the key counterclockwise.

6

7

recommended measurement is only intended as a guide.

cover plate.

Take a crosshead screwdriver and remove the two (or in some cases three) screws on the truss rod cover. Remove

the cover, sliding it from under the strings, and keep it in a

Take feeler gauge or a steel ruler and measure the distance from the top of the 8th fret to the bottom of the

strings. If it measures more than 0.010 inches, then there is

Check the action at the 8th fret again. If the measurements still don’t match, then readjust the neck

relief as required. Note: this is not an exact science, and the

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Place a capo on the 1st fret. If you haven’t got a capo then it’s possible to fake one placing a pencil across the

fingerboard just behind the 1st fret and securing it in place

Take the truss rod key and place it in the cavity so the that the head of the wrench fits tightly over the nut. If the

neck is too concave—the action at the 8th fret is too high—

Remove the capo and play your Les Paul. Repeat the previous steps until you are happy with the way your

instrument plays. When you have finished, refit the truss rod

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BOLT-ON NECKS

saddle) of 24 3/4 inches; if you were to fit a 25 1/2-inch Fender

If you have a Gibson Les Paul or one of the higher-end Epis

neck the bridge would be too far forward, and would require

the neck will have been jointed and glued in place. You

the saddle studs to be removed, the wood filled, and new

should never need to remove a set neck unless it is damaged.

holes drilled. To check this out, measure the distance from the

And even then, repair of this nature is well outside of the level

nut to the 12th fret, and take that measurement from the

of activity recommended in this book. The difficulty removing

12th fret toward the bridge; it must be within the range of

such a neck is in releasing the glue holding it in place. One

horizontal adjustment or else the bridge must be moved or

method we’ve seen entails taking out frets close to the neck

replaced with something different.

joint, drilling tiny access holes in the fret slots (so as not to damage the fingerboard), and pumping in steam, or syringes of boiling hot water, which is then sucked out to avoid it being absorbed in the wood. Eventually the glue will give way and the neck is released. In short, that’s a skilled, timeconsuming job best left to the experts. Removing a Fender-style bolt-on neck, however, is a very simple process. And this is exactly the type of joint used on some of the Epiphone Les Pauls. This enables you to experiment with alternative necks, replace damaged or broken necks, or fit shims to change the angle of a neck.

1

With the strings removed, take a large crosshead screwdriver and unscrew the four attachment screws that

LIKE FOR LIKE Removing an Epiphone neck and replacing it with something

pass through the neck plate.

of exactly the same size is extremely straightforward, requiring little more effort than unscrewing one neck and screwing the other one in its place. Attaching a completely new neck (see right) requires a little more work, though, as a new set of holes have to be drilled, and these must correctly align with the holes in the body and the neck plate. Fitting an alternative neck is a more complex business, though, requiring you to consider several factors: how much working on the pocket is necessary to accommodate the new shape of neck heel; whether the height is within the range of adjustment of the existing Tune-o-matic bridge; and, most critically of all, the intonation of the new neck. If, for example, you were to fit a standard Fender-sized neck you would immediately run into some issues. Gibsons and Epiphones have a scale length (the distance from nut to

2

Check that the replacement neck fits smoothly in the neck pocket. (A brand new neck may require some very

gentle sanding at the sides of the pocket to fit.)

THE CHEAPSKATE FEELER GAUGE TRICK Don’t have access to a feeler gauge for measuring tight spaces? You can make your own using offcuts of materials for which the widths are known. Card or wood veneers all come in set thicknesses, as do ice-pop sticks. Best of all, perhaps, you can use guitar string ends that have been snipped off beyond the tuners. Wrap some masking tape around the end and label each one.

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85

FITTING A SHIM In the majority of cases, the angle at which the neck is set when bolted onto the body at the factory will be fine. On some of the lower-end models, to achieve a satisfactory action it may become necessary to alter the angle at which the neck sits in its pocket. We do this by fitting a shim between the heel of the neck and the pocket, raising its height

3

If the neck is brand new, holes need to be marked and drilled. With the neck held firmly in place with a clamp,

take a center punch and pass it through each of the holes in the body to mark their positions on the heel of the neck. (If you don’t have a punch, you can use one of the neck screws.)

very slightly at the bridge end, and thus changing the angle. For the simplest of shims, all we want is some kind of material that can be placed on the bottom of the neck pocket, at the end closest to the bridge, so that when the neck is reinserted it will be slightly higher at that end. Ask any guitar repair technician what materials they’ve seen used as shims, and

Masking tape

you’ll hear tales of guitar picks, one-cent coins,

depth marker

small washers, corrugated cardboard, and collapsed matchboxes. All of these materials will do the job in hand—even if they’re not necessarily recommended. One of the better shims of this type is a simple carved ice-pop stick cut to the same width as the neck and rounded for a smooth fit in the pocket with some sandpaper.

4

When drilling in the neck, its critical that you drill at an angle of 90 degrees and that you don’t drill too deep into

the fingerboard. Fit a 1/8-inch drill bit and roll a piece of

masking tape 7/8 inch above the tip—this gives you the depth for your holes. Carefully drill all four holes.

A more satisfactory solution is to cut a shim that fits the full size of the pocket, and which is higher at one end than the other. This will take longer but it will be safer and also maximize the desirable wood-on-wood surface area. A piece of 1/16 -inch veneer will make an ideal shim, which needs to be sanded into a smooth wedge shape. Draw around the base of the neck to get the exact size to fit the pocket.

5

Reposition the neck plate and screw all four holes back in place. If you are happy that the neck is in position, fix the

tuners and string trees in place. You are now likely to need a complete bridge reset for action and intonation, as well as possibly for neck relief.

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DRESSING THE FRETS Given the importance of the frets as one of the antinodal points on a vibrating string whenever a fretted note is played, it’s clear that the frets on any guitar need to be cared for and maintained. Certainly, if you don't wipe the neck down after a session, the frets, as well as the wood on the fingerboard, can easily be harmed in the long term by dirt, as well as moisture, acids, and salt from your sweat. The frets also play a part in the intonation and clarity of the notes you play; worn frets will result in string buzz, and a poorly finished fret job will make your Les Paul less enjoyable to play.

DIY FRET TEMPLATE

STATE OF YOUR FRETS

A neat alternative to affixing masking tape on each side of every fret on the fingerboard is to make your own template from a piece of cardboard. It’s a simple idea whereby you cut a slot—around 1⁄8 inch (3.1mm) in width—so that when the card is positioned on the fingerboard it allows access to a single fret, which can then be smoothed without damaging the surface of the fingerboard. To do this you’ll need a piece of card around 4 ½ inches (88.9mm) by 3 ½ inches (114.3mm) in size. The template design is shown below.

You may pay a brand premium for a factory-fresh Gibson Les Paul, but you can be sure that the frets and fingerboard will arrive in a near-pristine state. The same cannot, of course, be said of used models that have not been well looked after—or for some of the cheaper Asian-built Epiphones. Unlike Gibson, which is undeniably a prestige brand, the Epiphone name covers a very broad range, from the most basic beginner’s guitars right up to models that are, frankly, comparable with the Gibson originals. Brand-premium aside, one reason Epis can be sold at far lower prices is that production costs in Asia are lower, and far less time will have been devoted to the labor-intensive parts of the process, such

4 1⁄2" (114.3mm)

as setting up the bridge, nut, neck relief, and dressing the 3 1⁄2" (88.9mm)

1⁄ " (3.1mm) 8

frets. If you compare even the cheapest Gibson Les Paul model with one of the student Epiphones, like the Les Paul LP-100 range, you will feel a difference when you slide your hands along the edge of their fingerboard. The Epi will be a little rougher along the edges or when you slide the strings across the frets when bending or playing vibrato. But with the Gibson costing seven or eight times as much as the Epiphone

The dimensions are not strictly critical; so long as the slot covers the length and width of the fret and

you’d expect there to be a difference, wouldn’t you? And yet, getting the fret dressing up to the same standard

protects the wood on the fingerboard on either side, it

as a Gibson is really quite achievable for anyone prepared to

will be fine. Similarly, the thickness of the card is not

spend an hour or more with some steel wool and a fine

especially important—something like a 100 lb card will

jewelry file. This can be time so well spent and may leave you

do the job nicely, but as a last resort, paper will be fine.

feeling that you have a completely new instrument.

FRET DRESSING Let’s begin by polishing the frets. You’ll need some fine steel wool for this (absolutely no more than #0000 grade) and some masking tape—preferably the type that doesn’t leave a residue. As an alternative to tape, use cardboard and a modeling knife to create your own fret template (see left). The aim of this procedure is to bring a gently abrasive material— fine steel wool—to the top and edges of the fret but minimizing the contact with the fingerboard itself.

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1

2

designed to pull off without leaving a sticky residue.

touch the very top of the fret.)

3

4

wipe away the residue you’ll be able to feel if it needs more

wool; if any of the frets seem to protrude further than others,

work. Do the same along the edge of the fret on both sides.

you can tidy up the rough edges using a fine file (see Step 5).

Don't go crazy—you’re not trying to file the fret down.

Don’t apply too much pressure with the steel wool.

5

6

pass. Use only downward movements as filing upward can

good clean, making sure that none of the wire wool residue

push the fret out of its slot.

gets attracted to the pickup poles.

Take two pieces of masking tape and lay them directly on either side of the fret being polished. The kind of tape

used by decorators to paint window frames is ideal since it is

Rub back and forth across the length of the fret with the wire wool, applying gentle pressure with the index finger.

Ten strokes in either direction should be enough, but if you

If there are any protruding frets, carefully take a flat jewelry file to the offending edge. Make one pass at a

time, moving from top to bottom, feeling the edge after each

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87

Alternatively, use the design in the box across the page to cut out a cardboard mask. Lay it over the fret you intend

to polish. (Note that if the card is too thick you will only

When you’ve polished the tops of all of the frets, slide your thumb and fingers along the edges of the frets. If

they feel rough or bumpy they will need cleaning with steel

Finally, run the steel wool the full length of the fingerboard; a half a dozen times up and down each side

should be enough to improve the feel. Finally, give the neck a

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REPLACING A FRET

guitar. Some Les Paul users who have shifted from the

While we wouldn’t necessarily recommend that you totally

standard 6130 fret wire to taller and wider 6105 gauge claim

refret an expensive Les Paul, an understanding of the process

that it produces a bigger, “meatier” sound.

will enable you to gauge the level of work needed—whether

The frets can also affect your style of play: choose frets

you do it or whether you want to hand it over to a

that are very low and you suddenly find that string bending

professional. If you are confident in your crafting skills, you’ll

becomes difficult; choose frets that are too high and the

see that there is nothing fundamentally complicated in the

downward pressure you apply with your fingertips may affect

process, and that replacing a worn fret is a matter of delicacy,

the intonation.

care, and patience. In truth, pulling out the old frets and putting the new ones in is the easy bit—the serious work

REMOVING THE FRET

comes with leveling them off.

There are three stages to consider when replacing a fret on

In the example across the page we’ll remove and replace a single fret. So before you get started you’ll need to buy some replacement wire. Since fret wire is produced in many

your Les Paul: removing the old fret, preparing the new fret, and fitting the new fret. Removing a fret needs to be done with care as it’s easy for

different shapes, widths, and materials, you need to ensure

slivers of fingerboard to come away at the same time. While

that you have the correct type—on most Les Pauls this will be

there are bespoke tools for this purpose, a pair of end nippers

what is a termed a medium jumbo fret (see box below) and is

will do the job perfectly well.

sometimes described using manufacturer Dunlop’s code,

You can prime the fret in a couple of ways. First, take a

which is 6130. Fret wire is sold either in a spool or in precut

modeling knife and run it underneath the crown on both

lengths. Buying the latter will be more costly, but it has many

sides; this will minimize the likelihood of the tong damaging

advantages, the main one being that it can be bought in a

the fingerboard as it comes away. Before using the nippers,

pre-curved state to fit the 12-inch neck radius of a Les Paul.

place some masking tape on either side of the fret to protect

The type of fret wire can actually have a significant impact

the fingerboard from accidental slippages. If the fret doesn’t

on the tone your Les Paul produces, which should be no great

come up easily then it may have been glued in place, so

surprise given that it’s one half of the conduit through which

heating the fret with strong hair dryer, or even applying a

the string vibrations are passed through to the body of the

soldering iron to the crown, might help to loosen its hold.

FRET ANATOMY world, so Les Paul–style medium jumbos are often called

may seem, there is no such thing as standard fret wire.

Height

As humble an item as it

6130s. Other sizes sometimes used on Les Pauls are the narrow/tall 6105 frets (0.095 inches x 0.045 inches), and

It comes in different

the wide/tall standard jumbo 6150 frets (0.103 inches x

heights, widths, and

0.046 inches).

materials. You can buy it by the spool or in ready

Width

cut lengths, pre-curved to radius of the fingerboard. There is even a separate terminology applied to frets. If you look at a cross-section of a fret (see above), the dome-like top that sits above the fingerboard is called the crown; the narrow vertical part that slots into the fingerboard is the tong. Fret sizes are measured in terms of the height and width of the crown. Most Les Pauls have what are termed medium jumbo frets, which measure 0.036 inches high and 0.106 inches wide. The product codes used by fret manufacturer Dunlop have been widely adopted throughout the guitar

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Precut 6130 medium jumbo frets

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DRESSING THE FRETS

1

2

PREPARING AND FITTING THE FRET

popular with repair techs and is widely used at Gibson). Since

To prepare the fret, you’ll need a radius gauge and a pair of

Les Paul fingerboards are unvarnished you could use a

cutters; to install the fret, you’ll need glue, a cloth, a steel

“superglue” on the frets. Only use a small amount, and clean

ruler, a jewelry file, and some steel wool. For fixing the frets

the residue immediately—it will be a real pain to remove if

in place, use a strong wood glue (Franklin Titebond is

you let it dry off.

1

2

shape—you should be able to do this by hand.

small hammer to very gently tap it home.

3

4

Take the end nippers to either side of the crown and very gently ease the fret out of its slot.

Take a modeling knife to the slot and clean out any extraneous dirt or glue.

Take a 12-inch radius gauge and a piece of fret wire. Cut it very slightly longer than the width of the previous fret.

Using the radius gauge, bend the fret wire to the correct

Take a steel ruler and place it on top of the fingerboard; if the new fret stands proud it needs to be delicately filed.

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Apply glue to the slot in the fingerboard and push the fret evenly in place, making sure that the bottom of the crown

rests flush against the fingerboard. If you wish, you can use a

File the crown, making sure that you maintain the radius, until the fret is the correct height. Finish with wire wool.

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CHAPTER 3 | ADVANCED MAINTENANCE

ATTENDING TO THE NUT The state of the nut plays such an important role in the performance of your Les Paul. Along with the bridge saddles, it not only defines the spacing between the strings but is also crucial for playability: if the slots are too high then the action and intonation in the lower frets will be poor; too low, and the result will be fret buzz; and if the slots are worn or too wide you may get string ping as they move laterally.

Graph Tech TUSQ Les Paul nut (top); bone blank (bottom)

NUT MAINTENANCE AND REPLACEMENT

ivory, TUSQ, which is as tough as bone and also contains a

Often overlooked, most likely because it isn’t simply

lubricating agent. There are also those who favor nuts made

adjustable with a hex key, wrench, or screwdriver, if the nut is

from graphite and brass.

damaged or badly set up, your Les Paul won’t sound or play

Other interesting replacement options exist, including nuts

as well as it might. Of course, one of the problems with

with adjustable string slots; cut from brass, they can be fitted

working on the nut is that anything you alter is permanent—

as shown across the page, and the height of each string slot is

if you accidentally cut a string slot too deeply, you can’t

adjusted using a small screwdriver.

“Command-Z” it! So work of this nature needs to be carried out very carefully with plenty of stops to check (and recheck)

CHECKING THE NUT

measurements along the way.

Even if you’ve just bought the most expensive Les Paul in the

Guitar nuts were traditionally made from natural

shop, because action is matter of personal preference the nut

materials, typically bone and ivory—although on ethical

will have been cut to a maximum tolerable height. This will

grounds, the use of the latter can no longer possibly be

be fine for most players, but too high for some.

recommended. Bone from cows and oxen remains heavily

Here is a very simple way to check this out without having

used, but some of the best nuts are now produced from

to resort to the feeler gauge. You can use this is a start point

human-made materials such as Corian, or Graph Tech’s fake

for the process.

1

2

other five strings.)

too low; a tiny gap is ideal.

Place a capo at the 3rd fret of the fingerboard. (If you don’t have a capo, place your finger on the 3rd fret of the

bottom string and follow Steps 2 and 3. Then repeat for the

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Look at fingerboard side-on. For each string, check the gap between the top of the 1st fret and the bottom of the

string. If the string makes contact with the fret then the nut is

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ATTENDING TO THE NUT

3

4

this example, the gap suggests that height of the nut slots

time before testing—both by repeating Steps 1 to 3 and

could be lowered.

playing your Les Paul. (That’s the only true measurement.)

If you can’t see clearly if there is a gap, tap the string above the 1st fret. If there is a gap you should hear a little

click as the string makes contact with the top of the fret. In

91

The best implement for cutting a nut slot is a razor saw. (Take a look also at the DIY options on page 92.) Very

carefully saw the affected slot, taking one small stroke at a

REPLACING THE NUT It’s clearly of paramount importance that if you remove the nut it has to be replaced by one of a similar size, and there is no such thing as a universal Les Paul nut. So your first task is to measure the width of the nut on the fingerboard. Original Les Pauls used the standard Gibson nut width of 111/16 inches (1.68 inches/42.8mm). Modern Gibson Les Pauls have a wider 1.795-inch (45.6mm) nut—although to complicate matters, replica Gibsons retain the original neck width. Epis also use the original smaller Gibson nut width. Some manufacturers provide pre-slotted nut upgrades, so much of the work is done for you, leaving you only to make any fine height adjustments that may be necessary. Check the product data carefully though—even if the width is correct, a nut designed for an Epi may not fit a Gibson, and vice versa. Here we’ll replace a stock nut with a Graph Tech TUSQ.

1

Take a sharp modeling knife and run it along the fingerboard in front of the nut, to remove any glue. Take

a small screwdriver or chisel, hold the tip against one side of the nut and gently tap with a small hammer until it slides out.

2

3

fingerboard wood.)

on the bottom of the nut.

Remove the old nut from the fingerboard. Take a fine jewelry file and remove any residue glue from the bottom

or the edges of the nut slot. (Only remove the glue, not the

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Fix the new nut in place using a strong wood glue. Franklin Titebond is excellent and is even used to hold the

neck joint on some modern Gibsons. Only put a small amount

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CHAPTER 3 | ADVANCED MAINTENANCE

DIY NUT FILE There are many ways to get the string slots to the desired height in the nut, the most traditional being a fine razor saw (or even a razor saw scalpel blade or a very narrow, flat jewelry file. One particularly good makeshift tool to use is one of the thin cutting/grinding disks designed for a rotary tool (such as the one shown in Step 2 below), only removed from the shaft and used as a hand-held

4

Push the replacement nut into the slot and tap it very

file. Others have recommended drill bits wrapped in

gently in place with the small hammer. Quickly wipe

emery cloth, again used as a hand file. One neat

away any glue that has found its way onto the fingerboard

trick used by a number of professional guitar techs

with a damp cloth.

is to take a small length of roundwound guitar string—around 3 inches (76mm)—and tape it top and bottom to the shaft of a screwdriver. It can then be used as a precision file. The advantage of finishing with this tool is that it’s not coarse enough to take too much depth out of the slot in one go.

5

Restring the guitar and carry out the checking procedure shown on page 90. If the action is too high, then carefully

deepen the slots using a fine razor saw blade—alternatively you can use a fine flat jewelry file.

CUTTING A BONE NUT Okay, if you really want to do it the hard way, here is one method for cutting a bone nut from scratch, which some players still view as one as the best upgrades you can make. In this example, we’ll remove a synthetic nut from the fingerboard and replace it with a bone equivalent. Although you can buy pre-slotted bone nuts easily enough, this time we’ll cut one from scratch. It’s very easy to get hold of suitable bone “blanks” online or, if you’re lucky, from a local guitar store. To make a tricky job a little easier, start off by buying the correct width, 1/4 inch (6.4mm), otherwise you’ll be forced to spend ages filing down one of the faces. This job does require skill and patience, so put aside a good few hours and perhaps keep a small supply of blanks in case things don’t go quite according to plan. And if you’re going to grind the nut using a rotary tool—which is much the best way of doing it—make sure that you wear a mask and that the area is ventilated, or even better, do it out of doors.

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1

Remove the existing nut as shown on page 9. We’ll use it as a rough template. Lay it over the blank piece of bone,

aligning the bottom edges of both, and draw around it with a sharp, soft lead pencil.

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ATTENDING TO THE NUT

93

LUBRICATING YOUR NUTS Tuning stability is a problem that can be caused by string friction at the nut. You can sometimes tell there’s a problem when the string “pings” while you’re tuning: the string here is actually getting caught in the nut, which can cause you to slip out of tune. A cheap and easy fix is to lubricate the nut slots so the string can slide through the slots as smoothly as possible. Although there are plenty of professional concoctions that are widely used, we’re fans of simple graphite powder, which can be bought in any hardware store as a cure for sticking locks. Failing that, try this time-honored guitar tech’s trick: simply shave the tip of a soft lead pencil with a sharp knife, liberally apply the powder to the nut slots, and finally wipe away the residue with a brush or vacuum cleaning attachment.

2

3

the nut is clamped safely in position.

the nut until the width and height are correct.

4

5

which are widely available from online sources.

checking method on page 90 until you are happy.

Use a coarse file or grinding device to get the blank into approximate shape. A rotary tool with a grinding wheel

is perfect for this job, although you do need to make sure that

Fix the nut in place as shown on pages 91 and 92. When dry, very carefully mark the string slots. You can mark

against the old nut or use a specialized string spacing ruler,

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With the new nut broadly in shape, use a fine jewelry file to remove the final residue. Hold the new nut in position

in the slot on the fingerboard to check the fit—continue filing

There are many ways of filing the new strings slots. We recommend using a fine razor saw. The key here is taking

small, delicate steps. Restring your Les Paul and then use the

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CHAPTER 3 | ADVANCED MAINTENANCE

THE TUNE-O-MATIC Gibson launched the original Tune-o-matic bridge in 1954: the ABR-1 featured individual saddles, adjusted by six screws held in place by a thin wire clip. In 1977, Gibson updated the Tune-o-matic design with the Nashville model, which allowed for greater adjustment of string length and also dispensed with the wire. Here we’ll take a look at how to dismantle the individual saddles. These can be removed for cleaning or replacement when worn out, or for reversing. There are also alternative options you can consider—roller saddles, or those made from specialized materials, for example.

THE ABR-1 BRIDGE

In the is example, we’ll dismantle an ABR-1 bridge and

On the original Tune-o-matic bridge, the saddle pieces slot

replace one of the saddles. Since so many manufacturers

into place and are held in position by a wire clip. The clip has

make a Tune-o-matic-style bridge, make sure that you have

to removed to take out any of the individual saddles, which

the correct replacement saddle—specialist manufacturers

can be a little tricky.

usually provide detailed lists online to ensure a good match.

1

2

screw. Take care when you remove the wire from the bridge,

the center—unscrewing clockwise brings it back;

as the individual saddle will be free to come out.

counterclockwise takes it forward.

3

4

not able to move.

in place, and push the opposite end of the wire into its hole.

Remove the wire clip that holds the saddle screws in place. With a small screwdriver or scalpel, pry it from its

hole at the end of the bridge and lift it over the adjacent

If you are removing all six saddles, keep them order so that you have a record of their positions. A good trick is

to place them on a piece of upturned sticky tape so they are

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You should be able to move the saddles by lifting them out from the screw end. If the saddles are set hard against

either edge, then they will need to be brought back toward

Slot the saddles back into the bridge and then clip the wire back in place: push one end of the wire into one of

the holes, thread it over the screw slots trapping the saddles

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THE TUNE-O-MATIC

95

SADDLE DIRECTION

THE NASHVILLE BRIDGE These are similar to the ABR-1 bridge only each saddle has its own retainer clip. Note: when choosing replacement saddles,

The Tune-o-matic is held in place by string pressure.

pre- and post-2000 Nashville bridges have difference screw

Without the strings you simply slip the bridge off its

threads, so they require different saddles.

two posts. The bridge can be positioned to face either direction, but there is an orthodoxy: ABR-1 bridges are installed with the adjustment screws facing the pickup; Nashville bridges are installed with the screws facing the tailstop. If the ABR-1 were installed the other way round, at certain height settings the strings from the tailstop could make contact with the adjustment screws. But there doesn’t seem to be any particular reason why the Nashville should go one way rather than the other. You’ll also notice that the individual saddles are slanted on one side and flat on the other. These can

1

Undo the saddle screw; turn counterclockwise until the

be removed and switched around. Altering the

screw leaves the saddle.

direction of the saddle gives you slightly wider intonation options: by turning the saddle around so that the flat edge is facing the front, for example, you have an extra 1⁄ 8 inch (3.18mm)—the thickness of the saddle—with which you can shorten the length of the string, and that might make all the difference in your Les Paul achieving correct intonation. Whether the saddles are slant- or flat-facing, or a mixture of both, they will have no impact on sound, and the cut of the slot will be identical each side.

2

Take care that the retaining spring clip doesn’t fall out. If it does, push it back in place loop-first, with the ends

NOTCHING SADDLES With time, saddles can wear out, or, annoyingly, new notches

resting on the slots on the base of the bridge.

can appear, messing up your string spacing. Most modern Tune-o-matic saddles come pre-notched, but if you have a special requirement in terms of string widths then you may need to notch your own saddles. The easiest way of doing this is to install a set of “blank,” un-notched saddles before restringing your Les Paul and moving the top and bottom E strings along their saddles to specify the overall width. You’ll then need a special stringspacing rule (widely available online) which measures from E to E on the bridge, and marks the correct position of the four center strings on their saddles. When all six strings are in

3

Rest the new the saddle on the support slots and thread

the correct posion, take a mallet (or a hammer if you’re gentle

the screw throught its hole, ensuring that it passes

with it!) and tap each string, making a notch in each one of

through the retainer spring, until coming into contact with the

the saddles. If the notch needs lowering, take a few gentle

saddle. Turn the screw clockwise to adjust the saddle position.

strokes with a flat jewelry file.

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CHAPTER 3 | ADVANCED MAINTENANCE

CHANGING THE TUNERS The tuners (or machine heads as they are sometimes called) have to be in good working order if your Les Paul is to stay in tune. The original Les Pauls were fitted with Kluson Deluxe tuners with the famous “tulip” buttons, later re-labeled as Gibson Deluxe. Another Kluson design, the Waffleback, can be found on some late-1950s models. The Deluxes were often replaced by Grover Rotomatics (see right), which many players preferred. Grovers, or designs based on the Grover, with its characteristic “kidney bean” tuning button, are found on many contemporary Gibson or Epiphone Les Pauls.

CLOSED TUNERS Both the Kluson and Grover styles are closed tuners, meaning they are constructed with a metal cover that hides the internal gearing. They are lubricated, sealed at the factory—although Lubrication hole

with a little ingenuity it’s possible to dismantle them—and as far as their inner workings are concerned, they are designed to be maintenance free. The original Klusons, and their modern-day counterparts that are fitted to some of the Gibson reissues, have a tiny hole in the back of the cover into which a lubricant can be applied—a tiny amount of household oil dripped into the hole or a small dollop of petroleum jelly on the end of a cocktail stick will go straight to the gear wheel. (Kluson

Kluson Deluxe tuner

Wafflebacks, which were used on a small number of Les Pauls, don’t have the lubricating feature.) Making a like-for-like replacement is the most convenient

REPLACING A KLUSON-STYLE TUNER

way of changing tuners, and both Kluson- and Grover-style

It’s a simple job to remove and replace a Kluson/Gibson

units are very easy to remove from the headstock. If you

Deluxe (or a modern-day equivalent) tuner from the

replace it with an identical unit, you won’t need to drill out

headstock of a Les Paul. Aspects of the designs may change

or fill any holes—this way you can also retain the original

slightly, but the basic principles remain the same. All you

features of your Les Paul.

need is a crosshead screwdriver and a modeling knife.

1

2

the headstock.

blow some warm heat from a hair dryer to loosen it.)

For removing a Kluson Deluxe-style tuner, take a small crosshead screwdriver and remove the two screws at

either end of the tuner. Remove the unit from the back of

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You may also need to remove the “bushing” that surrounds the string post. Slide the blade of a modeling

knife under the edge and carefully prise it out. (If it sticks

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CHANGING THE TUNERS

REPLACING A GROVER-STYLE TUNER

97

CONVERTING TO GROVERS

Now let’s look at the Grover tuners, with their famous

It used to be just about the most commonly

characteristic “kidney bean” buttons. You’ll need a 10mm

performed mod on a Les Paul, taking off the Kluson

hex wrench and a small crosshead screwdriver.

“tulips” and replacing them with Grover “kidney beans.” There was a wide perception, which still persists, that the Grovers were more solid and reliable. Over the past two decades, although Grover-style tuners have been used on most Gibson or Epiphone Les Pauls, the growth in demand for ”historic“ replicas has meant that Klusons are still used. Consequently, there is still a body of willing converters out there. This is not the easiest mod to make, and there is one thing you need to consider first, and that’s once you’ve fitted the Grovers there’s no easy way back:

1

Take the 10mm wrench and fit it over the nut on the

the holes in the headstock have to be enlarged for

front of the headstock. Turn it counterclockwise to undo

the Grovers to fit—to refit the Klusons, the holes

the screw and pull the shaft and the washer out, just leaving the tuner’s post in the center of the hole.

have to be filled and re-drilled. Once you’ve removed the Kluson tuner, as shown across the page, the hole needs to be enlarged. While there might be a temptation to use a standard drill, this is not a good idea. Drilling puts a lot of stress on the headstock, and it’s disturbingly easy to split the wood along the center of the row of holes on either side. The safe way of making the hole is by using a hand tool called a tapered reamer. Push the reamer through the hole from the back of the headstock and gently rotate it so that it shaves the wall. Do this very steadily, and keep checking with the Grover for fit. Insert the Grover, screwing in the shaft from the front with the wrench. You

2

On the reverse side of the headstock, take the crosshead

should be able to use the bottom screw hole to

screwdriver and remove the screw holding the tuner in

secure the Grover. You will however be left with the

place. Remove from the headstock.

original top screw hole still visible.

TUNER GEAR RATIOS Most players care little when it comes to tuner options, and just go along with what was installed at the factory. Yet although all tuners essentially do the same thing, there may be one significant difference—the gear ratio. This a number that describes how many times the tuning button has to be turned for the string post to make one complete rotation. Higher ratios enable the string post to move in smaller increments, which allows a finer degree of tuning control. Most tuner sets will have gear ratios of between 14:1 and 20:1. Older tuners tend to be lower, with figures closer to

Tapered reamer tool

10:1 more commonplace.

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CHAPTER 3 | ADVANCED MAINTENANCE

LOCKING TUNERS Once a new set of strings has “bedded in,” one of the main causes of pitch drift on a Les Paul is string slippage at the tuner. There can be other underlying reasons behind tuning problems, but this kind of issue can be avoided by fitting locking tuners.

SLIPPING STRINGS

without going out of tune. A locking tuner simply clamps the

Locking tuners are a great innovation. They’ll make stringing

string firmly to the tuner so that it can’t slip.

your Les Paul quicker and require no particular knowledge of

The first true locking tuners appeared on Hamer guitars in

special winding techniques. That said, the main cause of

the early 1980s, the brand’s own Hamerlock system

slippage when using conventional tuners is rarely about the

developed by cofounder Jol Dantzig. Now every major

hardware but the fact that numerous guitarists simply don’t

machine head manufacturer produces a variety of sets.

fit their strings correctly in the first place. (And, as such, you

By far the most simple and elegant way to convert your

will find some experienced players who consider locking

Les Paul is to replace your current set of tuners with like-for-

tuners to be a waste of time and money.)

like locking equivalents, meaning that no drilling or other

First, though, let’s clarify what a locking tuner—or locking machine head, as it’s sometimes called—is and what it is not.

damage needs to take place to your guitar. Here you can see how a set of Grovers, which come as

To begin with, it is most definitely not the same thing as a

standard on most modern Les Paul models, can be replaced

locking nut, which clamps your strings between the bridge

very simply by a set of Grover locking tuners. For older or

and the nut, keeping it in tune—usually so you can perform

specialized models fitted with Kluson tuners, there are also

dive-bomb whammy-bar antics on a Floyd Rose vibrato

modern-day locking equivalents.

1

2

Remove the existing set of tuners. Begin by taking a spanner to the screw shaft and removing it.

3

Take the Grover locking tuner, thread it from the back, replace the shaft and holding screw.

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On the reverse side of the headstock undo the screw holding the tuner in place. Remove from the headstock.

4

The six Grover tuners have a large screw lock on the back of each unit.

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LOCKING TUNERS

Eleven o’clock

STRINGING THE LOCKING GROVERS

99

One o’clock

First you need to align the holes to get the best string path. When looking at the headstock face-on, the three treble tuners (along the right-hand side) should have the holes facing one o’clock; the three bass tuners on the opposite side should have the open holes facing eleven o’clock. Before you begin stringing, make sure that the thumbscrew locks on the back of each tuner have been opened out—if you don’t do that then the string won’t pass through the hole.

1

Take the top E string and pass it from the bridge in the usual way, threading it through the string hole. Pull the

string tightly as you can from the end.

2

With the string still pulled taut with one hand, turn the thumbscrew lock clockwise as tightly as you can with the

other. The string should now be locked in position.

3

You can now safely cut off the excess string with a pair of wire cutters, leaving no more than about a quarter of an

inch. Repeat for the other five strings and then tune.

TOP-LOCKING TUNERS Tuners with a thumbscrew on the unit housed

principle; only the large thumbscrew is replaced by a

behind the headstock are the more commonly seen

smaller screw that is tightened at the top of the

type of locking machine head—perhaps because

string shaft. (The Tronical system shown on pages

from the front they can retain the original look of

100–103 uses a top-locking screw.) Both versions will

the guitar. Top-locking tuners use the same clamping

work equally well.

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CHAPTER 3 | ADVANCED MAINTENANCE

ROBOT TUNERS Electronic devices that measure the tuning of individual strings have been available for decades, but what value is a guitar that can actually tune itself? And in a matter of a few seconds?

Gibson Robot Guitar

AUTOMATED TUNING The year 2007 saw the launch of a seemingly radical new

WHY BOTHER?

instrument—the Gibson Robot Guitar (GRB). At first glance

This is impressive technology, but is it worthwhile? There’s no

this appeared to be no more than a cool-looking blue

doubt that there has been some hostility to this type of

sunburst Les Paul; a closer look revealed a Master Control

technology from some quarters of the guitar community. But

Knob (MCK) among the on-body hardware. This was the

there is a sense that self-tuning is gradually finding its way

interface for some very smart processing circuitry that

from novel, nerdy curiosity toward the mainstream.

enabled the tuners to rotate by themselves, setting string

There are some clear practical benefits. Tuning can be

tensions to predefined pitches. For many of us, seeing this

tricky, especially for those without a naturally “musical ear.”

system in action for the first time felt like real guitar voodoo.

Some players can take several minutes to tune up—self-tuning

Although Gibson claimed the Robot Guitar as a “world’s first,” this was not the only such technology around. In fact,

systems can do the job in seconds. Its greatest potential, perhaps, is for players with interests

a computerized tuning system built by a company called

that go beyond standard (E-A-D-G-B-E) tuning. Every

Transperformance had been created more than a decade

automated tuning system on the market has alternative tuning

earlier, and, although an undoubtedly brilliant and effective

features; on stage, if you want to shift from standard to

technology, the system also required invasive modification to

D-A-D-G-A-D tuning it can be done at the push of a button.

the guitar, could only be fitted by specialist technicians, and

And you can even program your own bespoke tunings.

the installation costs placed it well beyond the means of the

At around four hundred dollars TronicalTune still isn’t exactly cheap, but it does bring the costs usually associated

average player. It was German guitarist Chris Adams who devised the

with this type of technology down toward something

alternative system used by Gibson on the GRB and

affordable. What’s more, installation is straightforward—it

subsequent models. The original system featured piezo bridge

shouldn’t take any more than twenty minutes of your time—

saddles that communicated with a microprocessor run from

and, above all, the additional components add very little

the Master Control Knob, which then transmitted data to the

weight to the headstock and so won’t affect balance.

servo motor in each of the six tuners, causing them to turn automatically until the string tension created the correct

INSTALLING TRONICALTUNE

pitch. Adams’ company, Hamburg-based Tronical, went on to

The TronicalTune system revolves around a central mounting

develop a simpler system, which in 2013 Gibson introduced

board that houses both the circuitry that connects to the

to some guitars under the name Min-ETune (changed to

tuners and the control unit. This is simply clamped into place

G-Force a year later). The main benefit of this update was

on the reverse of the headstock by the six tuners and secured

that the workings were confined to the rear of the headstock,

with hexagonal nuts in the same way as any standard tuner.

meaning that it could be installed on any production-line

For it to work, however, the holes on the circuit board must

Gibson without the need for additional modification.

align perfectly with the six tuner holes in the headstock.

At the same time, Tronical began selling the system as an

For most Gibson Les Pauls, TronicalTune—or the faster

easy-to-install retrofit—under the name TronicalTune.

TronicalTune Plus—Type A kits will be needed; for most

Although the tuners themselves are standard six-in-a-line or

Epiphone Les Pauls, use Type J. (If in any doubt, though,

three-a-side sets, the company produces a wide variety of

templates are available online that can be matched against

circuit boards on which they are mounted, meaning that

the headstock of your Les Paul.) There are also a wide

TronicalTune can be fitted to virtually any production-line

variety of options available, such as peg heads of different

guitar made by most of the leading manufacturers.

styles and materials.

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ROBOT TUNERS

1

2

powered by a small lithium battery, so before you begin,

you keep the original tuners and their fittings safe in case you

connect it to the charger so that it’s ready when needed.

decide to reinstall them at a later date.

The TronicalTune kit comes in two boxes. One houses the six tuners (RoboHeads) and their fittings, the other

contains the circuit board, battery, and charger. The system is

101

Remove all the strings from your Les Paul and all of the tuners using a spanner from the front of the headstock

and a crosshead screwdriver from the back. Make sure that

3

Look at all six RoboHeads. Like any set of three-a-side tuners, three of the pegs should be the same direction; the

other three facing opposite. Take the circuit board and place it on the rear of the headstock so that the six holes are aligned. Make sure that you have it the correct way up, with the electrical contact points for each tuner located above the hole. Carefully take one of the RoboHeads and pass it through one of the holes at the top of the headstock. Although it doesn’t slot into position as such, you will feel that it’s in place when the electrical contact points are aligned. Holding the tuner so that it locks the circuit board in place, fit the washer over the string shaft on the front of the headstock and then screw the horizontal nut clockwise using

4

Holding the tuner so that it locks the circuit board in place, fit the washer over the string shaft on the front of

the headstock and then screw the horizontal nut clockwise

the little spanner that comes with the kit. Turn the nut as far

using the little spanner that comes with the kit. Turn the nut

as it will go, but don’t tighten it fully.

as far as it will go, but don’t tighten it fully.

5

6

hold of it while you thread the tuner. When this is in place,

gentle, though: if they are too loose the electrical contact may

the circuit board will be secure.

not work; too tight and it can damage the circuit board.

Repeat Step 3 and Step 4, this time for the RoboHead diagonally opposite the one you just fitted. At this time,

there may still be room for the circuit board to move, so keep

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You can now repeat Step 3 and Step 4 for the remaining four RoboHeads. When all six are in place, give the nut

on each one a final turn to ensure that they are not loose. Be

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CHAPTER 3 | ADVANCED MAINTENANCE

STRINGING THE ROBOT TUNERS The TronicalTune system uses a locking tuner mechanism— for it to work at all there can be no string slippage. Strings are held with an unusual winding technique and then secured in place with a screw-on lock nut. Even though it may feel like you are forcing the servo motor in the RoboHead, you can rotate each tuner by hand in the conventional way. Before you begin the stringing operation, you must first remove the lock nut (which sits on the end of the string shaft) and then turn the tuning key until the indents on either side of horizontal string recess are roughly perpendicular to the edge of the headstock. You can do this one string at a time, or for all them, before you begin

Indentation 90 degrees from the edge of the headstock.

1

Thread the string at the bridge, pull it tightly, and wind clockwise around the string shaft beneath the string

recess, bringing it up through the recess.

to string your Les Paul.

2

Pulling the string against the lip of the recess, wind it counterclockwise above the recess until you are pulling

the string toward the tuning key.

3

Holding the end of the string tightly with one hand, apply the lock nut with the other, turning it as tightly as you

can with your finger and thumb, and then trim the string.

4

5

the RoboHead.

the recess.

Tighten the lock nut by fitting a small coin in the slot at the top (a one-cent coin is ideal for this). Turn clockwise

until tight. Don’t overtighten the lock nut as it can damage

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Lock nut

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For the three bass tuners, the stringing procedures are the same as for the treble tuners, but mirrored, so the initial

string winding is counterclockwise, and then clockwise above

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103

VIBRATOS AND SELF TUNING There are two issues to consider before installing

string trees with roller trees can also make things

robot tuners on a Les Paul. The first is string friction:

work more smoothly.

for the system to work most effectively the “flow”of

Tronical claims that its system can deal with any

the strings across the hardware needs to be as

non-locking vibrato (so would be no use with a Floyd

smooth as possible, so low-friction nut and bridge

Rose). Since Les Pauls rarely have vibrato mechanisms

saddles are a good idea, or at the very least give

this is unlikely to be a major problem—although

your nut some lubrication with graphite powder or a

something like a retro-fitted Bigsby should be stable

soft pencil lead (see page 93). Replacing existing

enough to work with a Tronical set.

SWITCHING ON So how does the TronicalTune system work in practice? Actions are controlled using the arrow keys on the back of the control panel. The illuminated string letters change color—red, green, blue, yellow, pink, and white—to indicate different banks of tuning settings, as well as more complex functions such as pitch fine-tuning. As far as mainstream guitar playing is concerned, the area of self-tuning is uncharted territory, and it remains to be seen whether it becomes commonplace or remains a niche interest. But just as Roland doggedly pursued the idea of the MIDIequipped guitar for more than three decades, Gibson is also beginning to look unlikely to ditch its support of automated

1

If you charged the battery earlier, check its status—if the light on the wall wart is red then the lithium battery is not

fully charged; if it’s green then you’re ready to go. Unplug the

tuning any day soon. TronicalTune really has far too many facilities to cover in

battery from the wall wart and slot it in the left-hand end of

detail here, so for now we’ll just show an example using

the control panel. If it doesn’t click solidly in place then you

standard tuning.

have it the wrong way up.

2

3

Strum all six strings, from the lowest to the highest, and the

self tuning will resume. When the guitar is in tune the system

tuners will begin rotating of their own accord. As the pitch of

will shut itself off. The whole process can take as little as five

each string is being calculated the string letter turns yellow.

seconds to complete.

The on/off switch is the circular button alongside the navigation arrows. Press and hold it until the unit

switches on, the individual string letters lighting up red.

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As each note is successfully tuned, the string letter turns green. If any of the letters remain red it means they are

still not in tune; pluck only those strings once again and the

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CHAPTER 3 | ADVANCED MAINTENANCE

FITTING A BIGSBY Taking care of the frets on your Les Paul’s fingerboard should be a fundamental part of your care and maintenance process. If you don't wipe down the front and back of the neck after a session, for example, the strings, frets, and wood can be affected by dirt as well as moisture, acids, and salt from your sweat. The frets also determine, in part, the intonation and clarity of the notes you play—worn frets may result in string buzz; a poorly finished fret job will make your Les Paul less comfortable to play.

INTRODUCING THE BIGSBY A vibrato tailpiece is a simple mechanism with a lever that, when pushed down, reduces string tension and drops the pitch of the note. By smoothly pushing and then releasing the lever you can also achieve pitch vibrato effects. (As any good pedant will tell you, due to some historical misuse of the term, these devices are still often known as tremolo arms— tremolo is actually a different effect altogether, which you can get on an electric guitar by playing a note and then quickly moving the volume control back and forth.) Unlike the famed Floyd Rose locking systems, which allow for those “dive-bomb” string-bending effects beloved of many

Bigsby B7 for archtop electric guitars

metal players, the Bigsby units are a far more sedate affair. Depending on the string gauges you have fitted to your guitar,

damaging the finish to your Les Paul. Here are the tools you

you won’t get much more than a one-half-tone drop in pitch

need for the job:

by pushing down on the Bigsby arm.

PERMANENT INSTALLATION Fitting a Bigsby is quite a straightforward business, but it nonetheless requires care, both in marking out the drill holes on the top and bottom edge of the body and also in avoiding

• Masking tape • Small crosshead screwdriver • Large flathead screwdriver • Small drill or rotary tool • Drill bits (5/64" and 3/32")

1

2

crosshead screwdriver if they’re too tight.

like this—and that’s spoken from bitter experience!)

Begin by removing the strings from your Les Paul. Lift the Tune-o-matic bridge from its mounts and slide the tail

stop away from its posts. Unscrew both tail stop posts—use a

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Remove the strap button along the bottom edge of the body using a crosshead screwdriver. (Keep all of these

loose items in a safe place. It’s a real pain if you lose anything

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FITTING A BIGSBY

105

DRILLING TO THE CORRECT DEPTH When you drill into the body of your guitar it’s

narrow strip of masking tape. If, for example, you

important that you know the depth of the hole you

want to drill to a depth of one inch, take a ruler to

are making—the worst eventuality would be drilling

the drill bit and mark one inch up from the tip. Take

too far and coming out the other side!

the masking tape and wrap it around the drill bit

Few home workshops are kitted out with a

directly above your marking. If you drill into the

drilling rig enabling you to make such precise

body of the guitar until the masking tape wrapped

measurements, so we need to come up with a simple

around the bit just touches the surface of the body

fix. For this age-old trick, you need a ruler and a

you know you’ve reached the correct depth.

3

4

holes will go. Do the same with the two holes on the top of

above is strongly recommended here.) Drill the four holes

the body behind the bridge. Before marking the screw holes,

around the strap button. Use a 5/64-inch bit and drill to a

check very carefully that the Bigsby is centrally aligned. If in

depth of 3/4 inch. The masking tape is not only a better way of

doubt connect top and bottom strings to the tailpiece to check

marking the holes, but it will also stop the paint and varnish

that they run correctly along the edges of the fingerboard.

cracking around the edge of the drilled holes.

5

6

screws fully until all six are loosely in place. The Bigsby

fill them or—for a less permanent option—cover them with

vibrato unit is now ready for stringing.

something like self-adhesive foam pads.

Lay the Bigsby gently on the body, checking that the hinge is flat against the guitar end. Lift the hinge and

place some masking tape underneath where the four screw

Carefully screw the Bigsby to the body of the Les Paul. Begin with the four screws around the strap button before

fixing the two on the top. You don’t want to tighten the

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Drill the two top holes using a 3/32-inch bit. Ensure that

your drill is absolutely vertical before you begin. Drill to

a depth of 3/4 inch. (Using the masking tape trick shown

Fitting a Bigsby B7 to a Les Paul will mean that the holes for the posts that supported the tail piece will be partially

visible. For a neater look, before fitting the Bigsby you could

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CHAPTER 3 | ADVANCED MAINTENANCE

DAMAGE-FREE INSTALLATION In the past, fear of having to make holes in the body of the guitar was one of the reasons some Les Paul users shied away from installing any kind of vibrato. One enterprising American company figured this out and came up with a simple but very neat alternative. The Vibramate mounting kit is an elegant solution that fits a thin metal base plate to the body using the two threaded holes from the tail stop posts. The Bigsby is then screwed into the base plate. This enables you to install a Bigsby without having to drill any holes in the body of your Les Paul—and it also means that you could later remove the Bigsby and reinstall the standard tail stop with no visible damage to the instrument.

Vibramate V7 Les Paul mounting kit

Above all, though, using the Vibramate to fix the Bigsby in place doesn’t seem to have any adverse impact on the overall sound of the guitar. Vibramate produces kits for all of the different Bigsby units and guitar combinations, including a Les Paul mounting for a Bigsby B5. The base plate has felt pads underneath and so won’t scratch the paintwork, and also comes with two sets of bolts, which means that it can be used with Gibson (imperial) or Epiphone (metric) Les Pauls. A second mounting plate is used to secure the Bigsby to the bottom edge of the guitar.

USING THE VIBRAMATE Begin by removing the original tailpiece and strap button (see page 104). Locate the main mounting base and lay it on the body of your Les Paul, making sure that it’s pointing in the correct direction—of the two lips containing the smaller

1

Secure the mounting plate using the two large screws. These should fit into the thread holes used previously by

the tail stop posts. Make sure you have both screws in place

screw holes, the semicircular lip must be closest to the pickup.

before you tighten them fully.

2

3

The hinged part of the Bigsby, which would normally be attached directly into the bottom edge of the guitar, must

instead be fitted to the smaller mounting plate.

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The four tiny screws pass through the holes on the Bigsby and into the mounting plate. Make sure each of them is

screwed loosely in place before tightening them all.

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FITTING A BIGSBY

4

5

the moment.

tighten the strap button screw. The Bigsby is now fully fitted.

Take the strap button with its screw in place and pass it through the hole in the hinged part of the Bigsby. Using a

crosshead screwdriver, secure it loosely—don’t tighten it for

107

Loosely fit the Bigsby to the top of the mounting plate using the two supplied screws. Only when both are in

place should you screw them in tightly. Finally you can

STRINGING A BIGSBY Attaching strings to the Bigsby tailpiece can be an annoyingly

Bigsby tailpiece will only work with standard ball-end strings,

fiddly business. For best results you’ll need to have a pair of

as they are secured by slotting over the six prongs on the rear

long-nosed pliers—not to mention a steady hand. Note that a

tailpiece rod.

1

2

3

4

Take the string at the ball-end and, using the pliers, bend it to an angle approaching 90 degrees.

and push the open ball-end over the relevant prong.

Holding the ball-end of the string tightly in place, pull the string over the rear tailpiece and then thread it under the

tension roller before passing it over the bridge saddle.

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Carefully slide the string underneath the rear tailpiece rod

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Holding the ball-end in place with the tip of one of your fingers, pull the string tightly over the bridge saddle with

the other hand and attach to the tuner.

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CHAPTER 3 | ADVANCED MAINTENANCE

COSMETICS We’ll only be taking the smallest of peeks into the subject of altering the appearance of your Les Paul. It might well be possible for you to get a nice homemade look for your guitar, but without specialist gear and a great deal of hard work it will be difficult to achieve anything like a professional finish. Of course, these concerns may well be secondary when it comes to creating something unique.

THE PERSONAL TOUCH

shouldn’t be considering anything like this—you will quite

We’re all for self-expression here, and in the realm of the

literally be slashing the value of your investment. A more

guitarist one of its most common manifestations is to come

practical point to make, however, relates to the quality of the

up with a unique look for an instrument: Keith Richards, for

finish. You may produce an interesting or individual look, but

example, famously painted an attractive psychedelic moon on

if you want your Les Paul to look factory finished then

the body of his Les Paul Custom Black Beauty in 1968, and

without considerable skill, hard work, and the right

that remained his principal stage guitar until the early 1970s.

equipment, you’re likely to be disappointed with the result.

But there are considerations you need to make before you

Let’s take a look at a professional example. Steve Marlow

let rip with the spray paint. It probably doesn’t need saying,

is a respected London luthier. In addition to producing his

but if your Les Paul is a vintage or valuable model you

own high-end boutique instruments, he regularly collaborates

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COSMETICS

with artists to create one-off works of art, like the model

since each brand has a slightly different chemical composition

shown at various stages of production here (see left). In this

it’s best to stick within the same brand. Take a pin and dip the

case, Marlow prepared the basic guitar, and artist Samuel

sharp end into the nail polish. Let a single droplet fall onto

Gomez created his artwork by hand. Marlow first prepared a

the affected area. Leave it to dry. That’s it.

finely sanded base lacquer, and then the artist got to work,

Of course, there’s a long history that links the colors and

first penciling in his intricate design and then inking over the

paints used in cars and guitars, so for larger dings the most

lines. Marlow then went through a detailed process of

successful approach we’ve found is to take the guitar along to

spraying and sanding a succession of 2K polyurethane clear

an automobile paint store. A good one will stock most of the

coats, and finished it off with a Meguiars three-stage

standard finishes used by any car brand in recent years, and if

compound buff. In all, Marlow applied around ten coats and

there is nothing readily available an expert eye might even be

estimated the hand finishing took him getting on for two

able to mix something that works.

days. The result is a genuinely unique instrument for anyone with around fifteen thousand dollars to spare.

FIXING SMALL DINGS

109

Here is a brief step-by-step as to how you might go about completing the job.

1

If the dent goes deep, begin by masking off the

Repairing the odd small mark in your paintwork may be a little more straightforward, so here are a few homebrew strategies to consider. These are by no means professional solutions, but a way of covering up small, unsightly marks. Since Gibson doesn’t sell their paints directly to the public, the most difficult task here is to find a close match for your existing finish. For the tiniest of scratches a small drop of nail polish may be enough to cover it up. The best way to match the color here is to take your guitar into a department store and head straight for a sympathetic cosmetics salesperson. You can, in fact, mix colors using nail polishes, although

surrounding area with tape and filling the dent with a

cellulose filler—you can buy this from any automobile store. Carefully fill the affected area and allow it to dry.

2 3

File down the filler until it’s smooth and the same height as the surrounding area.

Take a fine paintbrush and paint only the filled area. When dry, rub with grade #0000 steel wool. Apply paint

again, this time carefully working it around the edge so that it blends with the surrounding paint. Repeat until you’re happy.

TREATING UNFINISHED WOOD One area where high-end home finishes are possible

grade. Give the body a final clean with grade #0000

without specialized gear—and can also look very

steel wool, and then wipe down thoroughly.

attractive—is in polishing bare wood. To do this you

There are plenty of options for finishing bare

need to remove the existing paint and varnish from

wood—Danish oil, Tru-oil, and tung oil are all

the body. There are three different ways in which

popular alternatives. These are commonly used as

you can do this: chemical stripper; heat gun, or

furniture finishes, and they are applied to the body

sanding. Using a paint stripper is effective, but only

of a guitar in the same way.

if you have a well-ventilated area, since the fumes

The key to achieving a fine finish is in applying a

can be toxic. Sanding is simply hard graft: you can

large number of thin coats, leaving each one to set,

use an electric sanding device, but there’s always a

and then buffing with a cloth or grade #0000 steel

danger of taking off too much of the original wood,

wool. This process is repeated until you get the

or gouging the surface.

desired finish—expect to do this at least a half-dozen

For home use, though, a heat gun and a scraper is

times. End with a finishing polish—something like

much the safest way. You apply heat to the surface

3M Finesse-It, which is widely used in boat

of the body and when the paint begins to bubble

maintenance, is especially good for this.

you push the scraper through in long strokes.

The combination of maple and mahogany found

Remove any residue paint using an 80 grade

on classic Les Paul bodies can create an exquisite

sandpaper, and get scratches out with a finer 440

look when presented in this way.

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4 ELECTRICAL FIXES Beneath the hood, so to speak, is where you’ll find the engine of your Les Paul. Here we’ll look at all things electrical, from replacing broken components and overcoming unwanted crackle, clicks, and hum, to installing alternative pickups and different types of circuitry.

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CHAPTER 4 | ELECTRICAL FIXES

TOOLS AND TECHNIQUES Let’s take a look at the relatively simple electronics of the Les Paul. You don’t actually need to know what the components do (even though we’re going to tell you anyway). To alter or replace any of your guitar’s components you’ll first need to come to grips with the soldering iron.

THE KIT This is the tool you need to make permanent connections between electrical parts. We’ll be looking at using the common traditional soldering iron (as opposed to the more specialized cold heat variety).

Soldering kit: (left–right) Soldering iron placed in soldering station, rolls of solder, “third-hand” clamp/magnifying glass, solder-sucker pen

When you plug a soldering iron into a power outlet, electricity passes through the unit creating what it is called

to the solder that you want removing, and when molten,

“resistance heat.” This causes the tip of the iron to heat up.

apply the suction device.

The longer it is plugged the hotter the iron becomes until it

Soldering can be a fiddly business, ideally requiring more than one pair of hands: one to hold the component, one to

reaches and maintains its maximum heat. To make a permanent connection we use an alloy called

hold the soldering iron, and a third to apply the solder. There

“solder,” which is a thin roll of wire usually comprising

are a variety of table-top “third-hand” devices available—the

around 60 percent tin and 40 percent lead (there are also

model shown above has a pair of crocodile clips that can be

lead-free solders available). Most types of solder melts at an

moved into any position, as well as a useful magnifying glass

unusually low temperature for metal (360–370 degrees

for very detailed work.

Fahrenheit) and sets again within a few seconds. The soldering iron is hot enough to melt the solder across a joint,

SOLDERING A JACK PLUG

which can be ready for use again immediately. Soldering is

For your first soldering experience, we’ll go for something

used to create the cable between the guitar and the

fairly harmless—soldering a jack plug onto the end of a cable.

amplifier—the plugs soldered to the wires—and to connect

Apart from the kit shown above, you’ll need a pair of wire

the components within the guitar itself.

strippers, a quarter-inch jack plug, and some screened cable

Soldering irons come in different power sizes. A 24-watt model is good for guitar work; any less and you’ll struggle to

(the type used to make guitar cables). We’ll begin by preparing the soldering iron for action.

remove thick ground connections from a pot case; but if it’s

Before you begin, make sure that the foam in the base of the

too powerful you are more likely to damage components.

soldering station has been dampened. Place the iron in the

Although not strictly needed for the soldering iron to work,

spring holder and connect the plug into the power outlet. Let

it’s recommended that you use a “soldering station,” which

it heat up. You can tell when it’s ready by touching a piece of

usually comprises a base unit with a protruding spring, in

solder against the tip—if the solder doesn’t melt then leave it

which the hot iron can rest while not in use, and a dampened

a little longer. (If your iron is cordless or battery powered,

foam pad for cleaning old solder from the tip of the iron.

then make sure that it is charged fully.)

These units only cost a few dollars and are well worth the

If you don’t have a soldering station, place it on a raised surface, such as cardboard box, with the tip sitting over the

outlay both for safety and convenience. Another useful tool, which also costs next to nothing, is a

edge so that it doesn’t make contact with the surface. You

solder sucker, and it is essential if you remove components

can stop it moving by resting the handle on some reusable

and want to clean them up before reuse. You apply the iron

putty. Keep a damp cloth beside you.

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TOOLS AND TECHNIQUES

1

2

3

4

When at full temperature, clean the tip of the iron, dragging it along the damp foam (or wet cloth) making

sure that all the old solder is removed.

113

When you cover a metal surface with a layer of solder this is referred to as “tinning.” Hold the iron in one hand and

the solder in the other; touch the solder to the tip of the iron.

Place the soldering back in its resting position. Take the cable and a pair of wire cutters; snip carefully around the

outer casing until it can be slipped off.

This should leave a thin insulated wire (the “hot” signal) with a surrounding copper shield. Twist the shield

between the thumb and first finger into a single cable.

SAFETY WARNING! It should go without saying that care needs to be

irreparable damage. (The same, of course, cannot be

taken whenever electricity is involved. But could any

said of working on mains-powered electrical

of this “under the hood” work be potentially

equipment, which, beyond changing a fuse, should

perilous? In terms of the electric guitar itself, the

never be undertaken unless you know exactly what

answer is no. The circuitry inside your Les Paul

you are doing.

operates at a very low current. There have been

You need to take precautions when using a

plenty of cases of guitarists receiving electric

soldering iron, though, as the tips are extremely hot

shocks—in a few tragic instances, fatal

and can cause severe burning to the skin or

electrocution—but these are caused by faulty

surrounding combustible objects—another good

grounding in peripheral equipment, most often a PA

reason for investing in a soldering station.

amplifier where the earth has become live. In terms of the harm you can do to your Les Paul,

If you are nervous about this kind of activity, or have flicked through the chapter and found it

this is minimal. The circuitry is very basic, and most

baffling or scary, then our advice is to not do it—if

of the components are pretty hardy in their own

you feel that way it just isn’t worth the stress. Any

right—except the capacitors, for which a heat sink is

of the work shown here can be performed on your

recommended (see page 130)—so if you make an

behalf in any local music repair shop, in most cases

error with a soldering iron there’s unlikely to be

for well under one hundred dollars.

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CHAPTER 4 | ELECTRICAL FIXES

5

Strip the plastic tip of the wire (see Step 3). Tin the wire. Hold the tip of the iron against the wire until hot; touch

6

Repeat Step 5 for the copper screening. Take the wire cutters and trim the ends of the tinned wire. The hot wire

should be about 1/8 inch; the screened wire about 1/2 inch.

the solder against it until the bare wire is covered.

7

8

9

10

In the same way as you did with Steps 5 and 6, tin the two connection points on the jack plug. The small prong

connects to the hot wire; the longer prong, the screened wire.

Repeat the procedure for the screened wire. Gently tug the wires to make sure they are solid. With a pair of long-

nose pliers clasp the collar of the plug around the cable.

Hold the hot wire against the smaller prong and apply the tip of the soldering iron until the solder on both

surfaces melt together; take the tip away to secure the joint.

Screw the plug cover in place. If the cover is metal it will have a plastic insulating shield inside to prevent

it accidentally making contact with the hot wire.

THE RIGHT TIP Choosing the right tip is important before

with a fine point

attempting any soldering work, some being more

will give you

suited than others for certain functions. Most

more accuracy;

modern soldering irons have a detachable tip that

a fine spade tip is

fixes onto the end of the heating shaft. For

also okay for this

soldering delicate electrical components a conical tip

kind of work.

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Spade tip Chisel tip

Conical tips

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TOOLS AND TECHNIQUES

USING A MULTIMETER

section of the meter will have five slots on the dial, marked

A multimeter is a device that measures voltage, resistance,

200 ohms (W), 2 kilo-ohms (KW), 20 KW, 200 KW, and 2,000

and current in electrical equipment. A pair of metal-tipped

KW [or 2 mega-ohms (MW)]. Each figure represents the

probes are held against different connectors on an electrical

maximum measurement for that setting, so 200W measures

component or within a circuit, and a measurement is made

readings between 0–199W; 20KW measures from 200–

on what passes between. Not only can you use a multimeter

19,999W, and so forth.

to measure the value of components behind the backplate of

We can use resistance mode to test and measure a Les

your Les Paul, you can also check the power of the battery or

Paul’s potentiometers—the volume and tone controls—these

test whether cables are working. Multimeters come in two

are usually 500 KW and so need a range setting of 2,000 KW

forms, analog and digital: the former give readings using a

on the multimeter.

needle on a dial; the latter, provides an LCD readout. Digital multimeters will usually require you first to set the

In the simple example shown below we will use a digital multimeter to test whether or not a standard “jack-to-jack”

range switch: if you are measuring resistance, the Ohm

guitar cable is working.

1

2

Set the multimeter to resistance (W) and at the highest range setting (2,000 KW on this model). With the probes

held apart the reading should be “1” (“infinite”).

115

Test the multimeter by touching the two probes together. The reading should change to “0.” You can now test

your cable.

Tip (hot) Shaft (ground)

3

4

probes against the two shafts, which should also read “0.” If

is no connection between the two. Otherwise it indicates a

not, it means the shielding or its connection is broken.

short between the hot signal and the shielding.

Simultaneously, touch the two probes against the two tips (the hot signal). The reading should be“0.” If it isn’t, this

means the cable or the connection is broken. Now touch the

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Finally, touch one of the probes against one tip and the other against the shaft on the plug at the other end of the

cable. This should read “1” (“infinite”) indicating that there

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CHAPTER 4 | ELECTRICAL FIXES

ACCESSING THE CIRCUIT Let’s take a look at what goes on under the hood of a Les Paul. All of the guitar‘s electrical components are secured directly to the body and hidden behind a series of covered cavities. The volume and tone circuitry (four potentiometers and two capacitors) are accessed by removing the large diamond-shaped plate on the back of the body. The switch terminals

• • •

are hidden behind the small circular plate on the reverse of the upper bout; the pickups are fitted directly to the top of the body, each with its own cavity. The wiring is channeled between the different cavities.

REMOVING THE COVER PLATES Unlike guitars such as the Fender Stratocaster, since most of the Les Paul’s components are accessible from the back of the body, it isn’t absolutely necessary to remove the strings first. The exception to this may be when working with the pickups where, if the strings have been properly secured at the tuners, you might be able to get a way with slackening the strings sufficiently for the pickups to slide out from under.

•

• •

•

1 2

Locate the seven holding screws on the two cover plates— these are marked on the right by the green dots. One at a time, remove each of the four screws on the larger, diamond-shaped cover plate with a small crosshead

screwdriver. The cover plate should now come away. If it sticks, take a knife to one of the edges and prise it up carefully.

3

Place the screws somewhere in a safe place as it’s a real pain if you lose them. (We recommend fixing them to the

inside of the cover plate with some sticky tape.) Repeat the same process with the three screws on the circular cover plate covering the switch.

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117

4

The output socket is not easily accessible from the back cavity, so you will need to unscrew the plate holding it in

place on the side of the body at its lower bout. This will give you access to cleaning the socket, but if you want to remove it altogether you need to remove it from the holding plate using a spanner or pair or pliers.

•

•

5

The pickups are held in place by the surrounding plastic “ring.” Locate the four corner screws (shown here by the

green dots). Don’t do anything with the screws on either side of the pickup (which are marked in red) as these are used for altering the height of the pickups.

•

•

•

6

Remove the four pickup screws using a small crosshead screwdriver. The wire inside should be sufficiently long

for you to pull the pickup and ring away from the body of the Les Paul. You can rest the pickup on the body but it’s a good idea first to lay down a soft cloth to avoid any damaging the body finish.

THE MAIN CAVITY (STANDARD) The diamond-shaped cavity in the back of the Les Paul houses the volume and tone controls. When you remove the back cover you should see something like the layout shown in the photograph on the right. Some Les Pauls might be wired with two or four more complicated-looking potentiometers, each with a large number of terminals. These are combined potentiomers and switches that enable a wider array of tonal options, usually engaged by pulling out or pushing the control knob. (We’ll investigate these “push-pull” pots later in this chapter.) You might also notice some small differences in the capacitors and how they are wired. Since the Les Paul was launched in 1952, Gibson (and later Epiphone) have used capacitors constructed using a number of different types of material. While they all do essentially the same job of reducing the treble frequencies, they do have differences in the way they sound.

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CHAPTER 4 | ELECTRICAL FIXES

THE MAIN CAVITY (QUICKCONNECT) With little fanfare, at some point during the late “noughties,” Gibson introduced a new method of factory wiring on some of its Les Paul models. For a number of inveterate modders, it came as something of a shock to open up the back cover to find the components wired up to a printed circuit board! And, what’s more, all of the cabling from the pickups, switch, and output socket were made using wires fitted with a set of unfamiliar connectors. Unsurprisingly, this system—known as QuickConnect—still divides the Les Paul community: for some owners, it provides a simple, solder-free way of making the most commonly desired modifications; others see it as nothing less than an abomination! From a manufacturing point of view, the appeal of the QuickConnect system is easy to understand: the loaded PCB (printed circuit board) is simply dropped into the cavity and all of the additional components and cables are slotted in place without the need for a great deal of further soldering. Gibson clearly sees this as an attempt at modularity and, accordingly, has now made its assorted pickup sets available with QuickConnect cable ends. This really can make replacing a pickup no more time-consuming than putting on a new set of strings: “Swapping out between your favorite

Gibson QuickConnect PCB and connectors

sounds has never been so easy,” as Gibson puts it, “it takes just a couple of minutes, so you can adapt your main guitar

this does become a universal system there is great appeal in

to any gig or session.”

the idea of taking your guitar into a music store and spending

The idea behind QuickConnect is by no means unique, and other pickup makers have attempted their own proprietory systems—such as Seymour Duncan’s Liberator—

a couple of hours slotting in pickups, testing out which ones works best with your own guitar. Of course, for the serious modder, there are some real

but none has achieved widespread acceptance. A small

downsides to the system. If, for example, you need to replace

number of third-party pickup makers have begun to offer

a potentiometer or capacitor then it has to be desoldered

their pickups with QuickConnect options, and it’s clear that if

from the printed circuit board, which first has to be removed

EPIPHONE WIRING Once you’ve opened up a few Gibsons and Epiphones you will quickly realize that there is no absolutely correct way of wiring a Les Paul. While Gibson wiring (on guitars without any fancy coil switching) conforms to two traditional types, when you open up an Epiphone there are other possibilities you might find, depending on the model or factory in which it was built. One possible difference nay be in the wiring of the capacitor, which traditionally crosses terminals of the volume and tone pots, but on some Epiphones you might find them fixed across a terminal and the ground of the tone controls. Don’t worry! These are not wrong, just different.

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119

CLEANING POTS AND SWITCHES It’s horribly annoying when you flick the pickup selector

need to aim the

switch and start hearing all kinds of nasty clicking

spray. If possible, use

noises, or when you rotate a volume or tone control and

a spray that comes

experience a crackle or a brief break in the signal. This

with long pipe

might mean that the part needs replacing, but in most

nozzle—this will

instances a quick blast with some electrical contact

enable you to target

cleaning spray will solve the problem.

the area more

Most of these sprays will do the job perfectly well,

accurately. Spray into

but always check out the label before you put it to use.

the hole and then

Silicone-based lubricants such as WD40 are best avoided

turn the knob back

for this purpose—although you will find plenty of

and forth rapidly so

people who swear by their use they leave a residue that

the cleaner is spread over the wiper as it makes contact. To clean a Les Paul switch thoroughly you may need

over time can harden. Potentiometers always need to be sprayed from the

to remove it altogether to spray directly onto the

rear, which means removing the back plate. On every

contacts. Flick the switch back and forth a few times so

pot you will find an access hole, which is where you

that the cleaning fluid reaches all of the contact points.

completely from the cavity. Worse still, if you want to replace stock Gibson pickups with a third-party option, then you have little choice but to rip out most of the QuickConnect wiring, unless, that is, you’re resourceful enough to come up with a workable alternative. (We’ve tried butchering other types of connectors or even soldering individual wires to pin ends, sliding over a PVC shield, and pushing them into the QuickConnect socket one pin at a time—it works, but it isn’t really satisfactory.) The bottom line is this: if you’re really into heavy modding then either avoid QuickConnect Les Pauls altogether, or else unplug and remove the PCB and cabling, and rewire your Les Paul from scratch with new components. (You’ll certainly find enough information to do that over the coming pages of this chapter.)

Gibson Switchcraft switch

Although the mods shown here assume traditional-style Gibson wiring, we will nonetheless cover QuickConnect issues if they are relevant.

SWITCH CAVITY When you remove the switch cover on the back of the Les Paul you will see Gibson’s classic three-way Switchcraft toggle switch. (On most Epiphones this will be a similar although lower-quality equivalent.)

PICKUP CAVITY The two pickup cavities not only provide a space for the humbuckers but also for chaneling the cable between the switch and the main control cavity.

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Gibson Les Paul humbucker cavity

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POTENTIOMETERS AND CAPACITORS

Carbon ring Wiper

Without getting into overly scientific territory, let’s take a more detailed look at the electrical components at the heart of the Les Paul—these are the “pots” and “caps” that take care of the volume and tone functions.

VARIABLE RESISTANCE Potentiometer with outer casing removed

Just four potentiometers and a pair of capacitors take care of the volume and tone functions on every standard Les Paul. The vast majority of Les Pauls are fitted with a pair of humbucking pickups. (The exceptions to this are replica early 1950s models and Les Paul Juniors, which are fitted with one or two single-coil P-90s, and three-pickup Les Paul Customs.) Each of the Les Paul’s humbucking pickups has a pair of linked potentiometers that control the volume and tone. A potentiometer converts rotary motion into variable resistance. Each of the pots has three terminals, which we’ll label “1,” “2,” and “3.” When used in a volume control, terminal 1 is connected to the ground; the input is applied to terminal 3; the output is taken from terminal 2, which is connected to the pot’s wiper. The value of the output is governed by the position of the wiper making contact with a carbon ring inside the pot, which is controlled physically by turning a knob fixed to the center shaft. Since a potentiometer is a kind of resistor it is measured in

worth upgrading. (Since Epiphones use metric sizes the pots are slightly smaller, so upgrading to a set of Gibson pots will require you to widen the holes on the body—the amounts we’re talking about are small and can be achieved by working on the hole carefully with 60 grit sandpaper.

LOG OR LINEAR? The relationship between the position of the wiper and the level of resistance at that point is known as the “taper.” There are two different types of potentiometer used in guitars— logarithmic and linear—each of which behaves in a specific way as the control is turned. Their differences can be shown graphically when output is plotted against the rotation of the wiper (see below). With a linear potentiometer, for example, a 10 percent movement in rotation at any given point will produce the same difference in output. The human ear,

ohms (W). The pots found in a Les Paul or any other humbucking electric guitar are traditionally rated at 500,000

100%

W (referred to as 500 kilo-ohms [k W] or more usually “500K”). This figure represents the maximum resistance either 250K pots or 500K pots—the former traditionally used on Fender and other single-coil guitars. Both values will work in either type of guitar, but using 250K pots on a Les Paul

Percent output

when the pot is on full—or on “10.” Guitar stores tend to sell Linear 50%

will affect the tone, resulting in lack of “top” and a muddy Logarithmic

sound. (To further complicate matters, since the early 1990s, stock Les Pauls have used 300K pots for the volume.) It isn’t possible to describe a definitive Les Paul potentiometer. Gibson have used pots made by CTS, Central Lab., and IRC., and then Gibson-branded components.

0% 0%

60%

120%

180%

240%

Degrees rotation

Although the pots fitted in Epiphones do the intended job perfectly well, they have a flimsier feel to them and are well

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Logarithmic and linear potentiometer taper graph

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121

The capacitor’s job in the guitar is to channel high frequencies away from the output jack and feed it into the ground; the range of the frequencies diverted is determined by the value of the capacitor. The position of the tone potentiometer governs the amount of the signal that reaches the capacitor, and hence the amount of treble that’s rolled off. Since its launch in 1952, the Les Paul has been fitted with capacitors of different values and made from a variety of materials. On the first models, the Cornell-Dubilier Grey Tiger GT4S2 capacitors were used, which were made from wax and paper and were rated at 0.022μF. In 1956 Gibson changed to the famous Sprague Black Beauty/Bumble Bees, which were made from paper in oil paper (“PIO”) and appeared in values from 0.010μF to 0.047μF. Since reappearing at the end of the 1960s a wide variety of capacitor types have been used in Les Pauls, including the popular Sprague Orange Drop polypropylene units, Russian PIOs, and, occasionally, ceramic disc “pancake” capacitors. The relative merits of materials and capacitor values are open Bourne split-top, splined potentiometer

to debate, but they can make a difference to the sound. Just to ensure that there is no misapprehension here, it

however, hears in exponential changes, so for the volume

should be stressed that if you always play your Les Paul with

control to be perceived as working consistently, a logarithmic

the tone controls on full, then capacitors will have next to no

potentiometer needs to be used. (Logarithmic pots are also

effect on the circuit; the most dramatic impact will be heard

known as audio, audio taper, or log pots, and are usually

when rolling off a touch of treble between “7” and “9” on

marked with the letter “A”; linear pots are usually marked

the tone dial.

with a “B.”) The choice between these two types is not, in fact, as clear cut as it might seem. Since both respond in exactly the same way when on “0” and “10” (it’s only what goes on in between that differs), either could be used. Original Gibsons tended to use logarithmic pots but nowadays linear pots are more common for both functions, although this is said to be because the tapers have changed considerably over the past sixty years. Potentiometers come with one of two types of fittings. The top of the shaft, to which the knob is fitted, will either be solid or split with a jagged “splined” tip. The standard Les Paul knobs—the “Witch Hats” or “Speed Knobs”—are designed to push onto a split potentiometer.

CAPACITORS A capacitor stores and releases electrical energy; it consists of two conductive plates separated by an insulating material called a “dielectric,” which can be made from a variety of different materials. On a conventionally wired Les Paul, a

Sprague Orange Drop (top) and Gibson Bumblebee

single capacitor is used on each of the tone pots as a very

(bottom)—the latter a modern replica of the paper in oil

basic EQ control.

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(PIO) capacitors used on late-1950s Les Pauls.

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STANDARD AND VINTAGE WIRING Until relatively recently the vast majority of Les Pauls were wired in one of two ways: in 1950s style— which we call “vintage wiring”—and modern-day “standard” wiring. Although slightly different in the way the capacitors are wired between the volume and tone controls, they both feature the parallel coils of each humbucking pickup being played together and passing through a volume and tone control before reaching the output socket.

WIRING VARIATIONS

The humbuckers, potentiometers, switch, and output

A traditional Les Paul—and by that we mean one in which

sockets are all grounded and connected to the bridge (and

the operation of the coils of each humbucker have not been

hence the strings) by a small wire that passes from the back

altered or switched in any way—has simple electronics. The

cavity and is soldered to one of the tailpiece studs.

hot signal from the two humbuckers each passes into a 500K

The standard modern wiring for a Gibson Les Paul is

logarithmic potentiometer that controls the volume. A

shown in the diagram below. Throughout this chapter we

capacitor links the volume control to a second 500K

won’t be using conventional circuit diagrams as most people

logarithmic potentiometer which bleeds the high frequencies

simply don’t understand the way they work. Instead we’ll use

to the ground, and so acts as a tone control. The outputs

a mixture of pictorial diagrams and photography. You can

from each of the volume potentiometers are connected to a

think of this diagram as your fallback position if something

three-way switch, the output from which—depending on the

goes wrong. Indeed, if you ever need to wire up a Les Paul—

position of the switch lever—is passed directly through to the

or any other twin humbucker guitar—from scratch this is an

output socket.

ideal starting position.

Neck humbucker

3 2 1

Three-way Switch In Ground

Ground wire to

Volume pot (neck)

bridge

Tone pot (neck)

1 2 3

Capacitor

Out 1

In

2 3

Hot

3

Ground

2

Bridge humbucker

1

Tone pot (bridge)

Volume pot (bridge)

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Output socket

Capacitor

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123

FIFTIES WIRING The first wiring modification we’ll look at is what is usually called “vintage” or “fifties” wiring. It’s a simple change in

Pickup (ground)

which the capacitors are removed and resoldered on different Volume

terminals of the volume and tone potentiometers (see diagram on the right). It was used on almost all 1950s Les Pauls, although there have been examples of unadulterated vintage

3

1

2

2

1

3

Pickup (hot)

models found with “modern” wiring.

Switch

Capacitor

Nobody knows the true reason why Gibson made the change during the 1960s. Vintage wiring gives an improved treble as the volume is turned down, but the tone and volume controls can also interact with one another in curious and unpredictable ways. So Gibson might have simply gone for greater stability. Other theories have included a suggested shift from “PIO” to ceramic disk capacitors being at the root of the issue, or that 1950s Gibsons tended to sound “shrill” with the high gain solid state amplifiers that became popular during this time.

1

Remove the cover plate. Desolder the capacitor from terminal 1 of the volume pot and terminal 2 of the tone

pot. Use a heat sink so that the capacitor is not damaged.

3

Attach terminal 2 of the tone pot to the ground by bending back and soldering the tip so that it touches the

case, or by soldering a short wire between terminal and case.

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Tone

Whatever the reason, it’s a very simple modification and can be tried and tested in only a few minutes. The steps shown below will work for both standard or QuickConnect wiring on Gibson models, but not for some Epiphones, unless they have been rewired from scratch (which is not a bad idea in any case). The steps below show how to move one capacitor between the volume and tone control for one of the humbuckers; it should be repeated for other humbucker.

2

Desolder the link between terminal 3 of the tone potentiometer and the the ground—which is the case of

the tone pot.

4

With a heat sink in place again, resolder the capacitor between terminal 2 of the volume pot and termonal 3 of

the tone pot. Refit the cover plate.

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REPLACING THE OUTPUT SOCKET

Hot tip (on spring clip)

It may only be a simple jack connector socket, but this is also your Les Paul’s link to the outside world; if it fails or performs inadequately, then even the most sophisticated onboard electronics

Hot connector: links directly to

Ground connector:

the hot tip.

links directly to the center barrel.

will be rendered useless. Happily, this is perhaps the simplest electrical fix you can make to your Les Paul. Problems at the socket can often be fixed by cleaning or simply resoldering the wires, but

Center barrel

sometimes the center barrel or the hot tip spring will become worn and need replacing.

TOOLS AND TIPS Since the output socket is attached to a seperate fixing plate which then screws onto the body of the guitar, pretty well any open quarter-inch jack socket can be used on a Les Paul—although the sockets produced by Switchcraft are widely regarded for their reliability, and will cost you less than five dollars. To replace the socket you’ll need your soldering kit, a pair of long-nosed pliers, wire cutters, a crosshead screwdriver, and some masking tape. When doing any electrical work on your Les Paul it’s always smart to label your wires—taking a photograph with a digital camera is also a good way to recall how things should look.

2

Pull the socket from the body of the Les Paul. Wrap a piece of masking tape around each wire and mark the two

cables: the long tip, “H” (“hot”); the other, “G” (“ground”).

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1

Unscrew the socket holder from the side of the body using a small crosshead screwdriver. As ever, keep the screws

and any other parts you remove in a safe place.

3

Remove the socket from its holder. You may be able to remove the nut by hand or by twisting the socket against

the holder; otherwise use a pair of long-nose pliers.

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REPLACING THE OUTPUT SOCKET

4

5

from the connector. Repeat for the other cable.

very useful for this kind of work.

6

7

Hold the socket thread with the pliers and press the tip of the soldering iron firmly against the soldered joint. When

the solder melts you should be able to pull the wire away

Take the wire cutters and snip the tips of each cable down to the plastic covering. Strip away about

1/4

inch of the

plastic covering, leaving the bare wire exposed.

8

Thread the wires through the holes in the connectors and solder them in place. Remember the “hot” wire connects

Take the brand new replacement socket and tin each of the two connectors, making sure that you avoid blocking

up the two small holes. A “third hand” clamp will come in

Generously tin the tips of each cable. Make sure that solder does not accidentally drip onto the body of your

Les Paul—if it does, wipe off immediately with a cloth.

9

Thread the socket back into the holder, place the washer over the thread, and tighten the nut. Snip off the

identifier tags and screw the holder back onto the body.

to the terminal with the long tip.

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CHAPTER 4 | ELECTRICAL FIXES

CHANGING POTENTIOMETERS

TAKING OFF THE KNOBS Before you can remove a volume or tone potentiometer you first have to take off the knob to

With time and heavy use, both the volume and tone

access the nut and washer that holds it in place on

potentiometers will reach a point where they can

the body. Les Paul knobs may only be held in place by

not be rescued by simple cleaning. You might,

friction, but they can be tricky to remove. If you’re lucky you might be able to get it off simply by

however, also decide to change the components of

gripping the edge and pulling upwards. For the

your Les Paul for reasons of quality or type.

cyclindrical “speed” knobs you can use an adjustable wrench for extra purchase, but if you do this, first

THE RIGHT COMPONENTS

wrap the knob in an old cloth so that the edges don’t

If you are replacing either volume or tone controls in your

get damaged.

Les Paul, you do need to ensure that the replacement is a

One fool-proof method is to find an old piece of

correct type. Gibson have traditionally used 500K

cloth and tear off a narrow strip around 12 inches

potentiometers; in around 1973 this was reduced to 300K for

long and 1⁄ 2 inch wide. Take the center of the cloth

both; in the late 1970s, the tone pots were either 300K or

and slide it underneath the edges of the knob. Bring

100K. Since around 1990, stock Les Pauls have had 300K

the ends of the cloth above the knob and loop one

linear pots for the volume controls and 500K logs for the

end over the other. Jiggle and pull both ends of the

tone controls. Either log or linear pots will “work” for either

cloth from above, and the knob should be safely

function, but the rate at which changes to the sound take

released from the potentiometer.

place will differ between pot types. The other factor you need to consider is the fitting. The top of the shaft, to which the knob is fitted, will either be solid or have a jagged “splined” edge. Les Paul knobs are designed to fit splined ends. Because of the thickness of the Gibson Les Paul body, potentiometers need to be longshafted; otherwise the screw thread will not reach between the cavity and the top of the body. (On Epis, either standard or long-shafted units may be used depending on the model, so it’s a good idea to remove the pot first to check.)

WHEN TO REPLACE THE POTS If you’re getting a lot of audible crackling or noise when you rotate the knobs on your Les Paul then at the very least they require some attention. If cleaning them fails to solve the

for 500K replacements. This is really a matter for

problem (see page 119)—and in most cases it will—then

experimentation and personal taste. (As it happens, we’d tend

replacement becomes the only viable option.

to side with 500Kers on this one, but it’s really by no means a

Reasons for removing working pots are a matter of taste and perceived reliability. Some of the cheaper Epis may use

clear-cut issue.) One issue to consider, though, is how much practical use

less robust components, and there are plenty of players out

you make of the onboard controls: if you’re a “tenner,” who

there that would argue the standard of Gibson pots are not

largely leaves the volume and tone on full, then changing

what they once were.

these components will make little difference.

Some guitarists also believe that they can significantly affect the tone. The switch from 500K to 300K volume pots has certainly divided opinion among owners—including a hardcore group who will routinely rip out their 300K pots for producing an overly bright sound, claiming a warmer tone

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WHEN TO REPLACE THE POTS Let’s look at a practical example of removing a 300K volume potentiometer from a standard-wired Les Paul and replacing it with a 500K equivalent.

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CHANGING POTENTIOMETERS

1

2

crosshead screws.

and desolder all of the connections to the potentiometer.

3

4

safe keeping in case you want to use it again.)

solder it in place.

5

6

from the switch to terminal 2. (For vintage wiring, see the

four knobs as far clockwise as you can and reattach the knob

diagram on page 123.)

so that the numbers are all facing the same direction.

Remove the control knob. (You can use the method shown across the page if it won’t pull off immediately.)

Remove the back plate by unscrewing the four small

Remove the old potentiometer by undoing the hex nut on the front of the body. Remove the nut and washer and

slide the pot out of its hole. (Reattach the nut and washer for

Solder the ground wires onto the casing of the new potentiometer, the leg of the capacitor (using a heat sink)

and the input from the pickup to terminal 1, and the output

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127

Mark all of the wires attached to the pot with masking tape labels (or take a photograph with your smartphone.)

Attach a heat sink to one leg of the capacitor (see page 130)

Tin the three terminal legs of the pot as well as an area on the casing to attach the ground wires. Bend back

terminal 3 so that it touches the case of the potentiometer;

Check that the joints are all secure before connecting your Les Paul to an amplifier to test that the new pot is

working. If everything is fine reattach the back plate. Turn all

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CHAPTER 4 | ELECTRICAL FIXES

SWITCH REPLACEMENT On a standard Gibson Les Paul, you can flick between the treble (bridge) and rhythm (neck) pickups using a three-way Switchcraft switch. (Epis generally also have a similar design.) These are famously robust and can easily be cleaned up if they start misbehaving. They are also very easy to remove and reinstall, so long as you buy an appropriate replacement.

WHICH SWITCH? There are two distinct Switchcraft units used for pickup switching on Gibson guitars: the “L”-type and the straight type. From the front of the body they look identical, but the “L”-types, which are used on thinner-bodied guitars like the SG, will not fit in a regular switch cavity on a Les Paul. Changing to a genuine Switchcraft selector switch is a popular upgrade among Epi users.

INSTALLING THE SWITCHCRAFT This next set of instructions illustrates how easy it is to swap

Switchcraft “straight” selector switch

around switches on a Les Paul.

1

2

holds the switch in place.

Desolder all four connections and remove the switch.

Remove the three screws on the circular cavity plate at the back of your Les Paul’s upper bout. Take a pair of

long-nose pliers and remove the circular nut and washer that

To access the wiring, pull the switch unit out of the cavity. Using masking tape, label the four wires that are

connected to the switch as indicated in the diagram below.

SWITCHCRAFT CIRCUIT When you open up the switch cavity on the body you will see that the unit has four terminals: three on one side

Input from neck volume potentiometer

and one on the opposite end. Each of the two outer

Hot signal to the ouput socket

terminals connects to an output from each volume pot; Input from bridge volume potentiometer

the center wire is the hot output that connects directly to the socket. The single terminal on the other edge is for the ground connection.

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Ground

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PICKGUARD SWITCHES On pages 138–145 we’ll take a look at how additional switches can be introduced to the circuitry, either in the form of combined potentiometer switches or separate miniature toggle switches. The latter can either be fitted in the main cavity, with suitably sized holes made in the body or secreted beneath the edges of the pickguard. To remove the pickguard, undo two crosshead screws: one attaches the pickguard to the body near

3

Take the new switch and tin all four terminals. Begin by

the neck pickup; the other attaches the pickguard

soldering the ground cable to the ground terminal, and

bracket to the side of the body. (You don’t need to

then the output cable from the center terminal. (See diagram

remove the bracket from the pickguard.) Miniature

on previous page.)

toggle switches can be fixed to the underside of the pickguard so that just the lever is accessible. The switch can be fixed in place using strong doublesided carpet tape. If you drill a small hole in the side of the pickup ring, this can be used to thread cable from the switch into the cavities.

Concealed switch

4

Solder the two input cables from the two volume controls. (Ensure that you have them the correct way

round or else the switch will select the wrong pickup when the switch is engaged away from the center.)

5

6

the guitar for the switch to be labeled correctly on the body.

three crosshead screws.

Slot the switch unit into the cavity so that the lever passes through the hole to the front of the body. The end with

the single ground terminal should be pointing to the top of

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Insert the washer and secure the switch in place using the circular nut. Tighten by hand and then using a pair of

long-nose pliers. Finally, refit the circular panel using the

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CHAPTER 4 | ELECTRICAL FIXES

CHANGING CAPACITORS Debating the qualities of different types of capacitors in the tone circuit is one of the more arcane debates entered into by Les Paul owners.

USING A HEAT SINK Most of the components inside a Les Paul are robust and won’t be harmed if overheated during the soldering (or desoldering) process.

Over the course of six decades, Gibson has used a

The one exception is the

wide variety of capacitors, so it’s worth looking at

capacitor used with the

some of these differences, especially if you’re

tone control, which can be damaged, especially if you’re using a more powerful

refurbishing an old instrument or want to capture

soldering iron—say above 25 watts. In such cases it’s

the sound of a specific vintage.

a good idea to use a heat sink of some type. This is a small metal device that you can clip to the leg of the capacitor so that when you solder the tip, the heat

MATERIALS AND VALUES A capacitor is essentially two metal plates that are separated by a non-conductive dielectric material, which stores electrical energy. Widely used in every field of electronics, in a guitar the standard function of the capacitor is to combine with a potentiometer to bleed the higher frequencies to ground, and so acting as a tone control—or more accurately,

making its way toward the dielectric material that separates the two legs dissipates, preventing it from getting too hot. Special low-temperature clips can be bought in any electronics store for few dollars. If you don’t have one at hand, a crocodile clip (or even, as a last resort, a metal paper clip) will do the job. Capacitor

a high-frequency filter. Experimenting with capacitors is one of the cheapest and most effective mods that you can undertake if you make extensive use of your tone controls. The unit of measurement associated with capacitance is

Iron

High heat

Low heat

the farad (named after our old friend from earlier in the book, Michael Faraday, and denoted by the letter “F”). For

Heat sink

most practical uses, the farad is an absurdly large unit of capacitance: the capacitors used in Les Pauls and other guitars are usually expressed in millionths—or micro-farads (μF). (You might also sometimes see “MFD” used.) Although the capacitor will mainly be removing high frequencies, its rating will determine tone of the sound as it is engaged. The broad rule is the lower the value, the brighter the sound. A value of 0.022μF is standard in most Les Pauls. Capacitors also have a voltage rating—those used in guitars fall within the range of 100 volts to upwards of 600 volts. For the very low voltages found in a guitar circuit,

Orange drop

Ceramic disc

Paper in oil

however, this figure has no relevance. As we’ve already seen, a variety of different materials have been used since the Les Paul first appeared in 1952. If you are chasing a vintage tone then many would certainly argue that you should get hold of a vintage-style paper-in-oil capacitor (something like the famous “bumblebee”). So how do these different capacitor types affect the sound? Here is a breakdown of some of the most commonly used

Paper in wax

Metal film

guitar components and their perceived audio characteristics.

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CHANGING CAPACITORS

CAPACITOR POLARITY

CERAMIC DISK Also known as a “pancake,” these capacitors

are the most widely used in modern guitars. They are very cheap, and while they do the job, most of the alternatives listed below would be regarded as an upgrade.

131

One of the most curious aspects of experimenting with guitar capacitors is

ORANGE DROP Widely used in high-end valve amplifiers,

these are made from polypropylene or polyester film. Originally made by Sprague, these make for an excellent upgrade. Although there are numerous variations, the 225P is particularly suited to the classic Les Paul tone. They will cost around three dollars each.

what can happen when they are reversed—the legs are connected the other way round. Some capacitors, like the electrolytic example shown above, do have a specific polarity, the positive side having a longer leg than the other, and when these are used in a circuit, connecting them correctly will

PAPER IN WAX (“PIW”) Closely associated with the earliest

Fender guitars, these capacitors were made from strips of metal divided by waxed paper. Out of large-scale production for many decades, a small number of guitar specialists produce replicas, including Luxe and Fender. Producing an odd bass-heavy tone, this is very much a niche mod, which is likely to set you back up to twenty dollars per capacitor.

be critical. The capacitors used in guitar circuits have no specific polarity, and although it shouldn’t make any difference which way round they are installed, it can sometimes be possible to hear a slight change in tone when in use. This is another good reason for experimenting with capacitors, and one where our breadboard project on the next page will assist.

Opinion is divided as to the worth of this type of mod. PAPER IN OIL (“PIO”) Produced by companies such as Jensen,

Angela, and Emerson, costing thirty dollars or more for each

METAL FILM/FOIL Capacitors such as Mallory 150s or

component, this could be viewed as an expensive experiment.

Mojotone Dijon are made using metalized film, as the

It also polarizes opinion among the modding community,

dielectric material produces a rounded sound in both high and

some of whom would claim they produce a warmth of sound

low frequencies and are well regarded for their reliability.

that makes them worth every last cent. This category covers the famous “bumblebee” capacitors found in vintage Les

SILVER MICA Thought by some to be the best possible option,

Pauls, and should be seriously considered for anyone chasing

these capacitors can produce clarity in the upper frequencies,

that illusive 1950s tone.

helping to avoid tonal muddiness.

SLEEVING When fitting certain types of capacitor you need to ensure that the exposed leg doesn’t unintentionally come into contact with another part of the circuit—for example, a non-grounded leg making contact with conductive cavity shielding. If this looks to be in any way a possibility, then a good precaution is to use a small length of PVC/silicone/rubber sleeving, which you can get from any electronics store. Measure a length that’s slightly shorter than the leg of

PVC sleeve

the capacitor and slide it over the leg before soldering. If you use a heat sink, apply between the end of the sleeve

If you need a PVC sleeve in an emergency, a cheap and

and the dielectric body of the capacitor; don’t worry if

effective solution is simply to strip the wire out of a piece

the end of the sleeve near to the tip of the soldering iron

of shielded cable, leaving just the sleeve. This can slide

begins to melt a little—this is to be expected.

over the capacitor in the same way.

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CHAPTER 4 | ELECTRICAL FIXES

REPLACING A CAPACITOR Replacing a capacitor is a very simple operation, the job simply requiring you to desolder the two legs of the original capacitor, and solder the terminals of the new component in exactly the same two locations. To be on the safe side, it’s always advisable to use a heat sink to prevent any possible damage to the capacitor, both when removing the original capacitor and installing its replacement (see previous page). The only other consideration to make is the physical size of the capactor. Some of the vintage paper in oil components, for example, are comparitively large and if they are soldered in position so that they are “floating” above the bottom of the potentiometer casing then you may struggle to refit the cover plate. In this case, you may have to solder the legs so that the body of the capacitor can be pushed to sit alongside

1

Unscrew the large diamond-shaped cover plate using a crosshead screwdriver.

the tone pot or between the tone and and volume pots. Finally, don’t forget about the exposed bare legs of the new

Labeled terminals

capacitor. If there is any possibility of a long leg making an unwanted connection sleeve it up before you begin soldering.

2

Take two masking tape labels and fix one to either potentiomer terminal connected to the capacitor. (Or

take a photograph using your smartphone just in case you forget where the replacement capacitor has to to go.)

3

Two joints need to be desoldered: the joint between the capacitor and the potentiometer terminals (or on some

Epiphone Les Pauls, the ground on the pot casing). Place the heat sink on one leg of the capacitor and carefully decouple it from the potentiomer. Repeat for the other leg.

4

Store the capacitor safely in case you wish to reinstall it in the future. Take the replacement capacitor and, one leg

at a time, tin the tips and solder carefully to the same terminals. Refit the cover plate.

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THE LES PAUL BREADBOARD It can be hard to make any meaningful judgement as to whether or not capacitors make a difference to the sound of your Les Paul, especially when you have to keep desoldering and resoldering new components. So here is a little contraption you can rig up to make the process a little easier. This experiment makes use of a standard electrical breadboard, which is a kind of matrix block used in electronic prototyping. We’ll remove an existing capacitor and at each of the two connection points we’ll solder a piece of shielded wire. The wires will be connected to the breadboard, and one at a time the different capacitors can be slotted in and tested out without having to do any soldering: alternatives can be tested out in a matter of seconds.

1

Unscrew the large cover plate on the back of the Les Paul. Remove one of the existing capacitors as shown above.

Take two pieces of shielded wire, no more than about

For this experiment, we’ll take a broad selection of guitar

3 inches (76.2mm) in length, tin the ends, and solder one end

capacitors of different values and materials and try to assess

of each to the potentiometer terminals to which the capacitor

whether or not they really do make a difference to the sound.

was formerly attached.

2

You can label each of the wires using masking tape—it doesn’t matter what you call them just as long as you can

tell them apart. Alternatively, as shown here, you can use different colored wires. Now take a small breadboard, a lump of pressure sensitive adhesive, and fix it to the back of the body so that the end marked “row 1” overlaps into the cavity. (Note: Breadboards usually have a self-adhesive backing—don’t use this or you’ll end up spending an absolute eternity cleaning it off your Les Paul, even using naptha.)

3

Take the end of wire “A” and push it firmly into hole “A1” on the breadboard; take wire “B” and connect that

to hole “J1” on the breadboard. The range of holes from “B1” to “E1” are all connected on the breadboard to “A1”; similarly, “F1” to “I1” is connect to hole “J1.” By plugging each leg of the capacitor into legs “B1” and “F1” you are creating the same circuit as if the capacitor was still soldered to the circuit.

4

Take a selection of capacitors and, one at a time, fit them to the breadboard and play your Les Paul. Remember to

move the tone control around between the “5” and “9” positions to hear the difference. Make a note of any sound characteristics, and don’t forget to reverse the polarity of the caps to see if that makes a difference. This experiment will only test one pickup at a time, so make sure that the pickup you select is the correct one. It would, of course, be possible to remove both capacitors and run four wires, the other two using a different row on the breadboard. Solder your chosen capacitor as shown on the previous page.

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SWAPPING OUT PICKUPS If there’s one modification that you can make to your Les Paul that is guaranteed to alter the way it sounds, then it’s to experiment with different pickups. Gibson itself produces dozens of different humbuckers that can be retrofitted to a Les Paul, and these are often replicas of classic period pickups. It’s possible to fit any pickup to any guitar, but since the design of the Gibson humbucker has long since become a standardized size, every third-party pickup manufacturer will make a variety of different sets that can be fitted to a Les Paul without any necessary butchery to the body.

DROP-IN REPLACEMENT

famous Gretsch Filter’Tron humbucker, which will create a

Removing a humbucking pickup from a Les Paul is no more

tone far brighter than a standard Gibson PAF-style pickup.

complex than unscrewing the pickup ring from the body,

(Dutch guitarist Jan Akkerman, of 1970s prog-rockers

unscrewing the pickup from the ring, and desoldering the

Focus, modded his Les Paul in this way.)

cables from the volume potentiometer in the main cavity. To show how simple this process can be, we’ll replace a

The unit we’ll use is a handwound Creamery Black Cat with double-thickness alnico V magnets. This is a

Les Paul neck pickup with a modern-day replica of the

Filter’Tron modified to fit into a humbucker-sized casing.

1

2

through to the main control cavity.

capacitor, so place a heat sink on the leg.)

3

4

before soldering, it’s probably easiest just to snip the wire as

stubborn, you might find that you’ve inadvertently desoldered

close as possible to the connection point.)

the wrong pickup!

Take a crosshead screwdriver and remove the neck pickup ring by undoing the four corner screws. You will

also need to remove the bridge pickup to pass the cables

Take the iron and desolder the neck pickup’s ground cable—often a braided shielding—from the casing of the

volume pot. (If it’s been twisted around other ground wires

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Take your soldering iron and remove the “hot” wire of the neck pickup from terminal 1 of the neck volume pot.

(For modern Les Pauls, this terminal will also connect to the

Gently pull on the wire of the neck pickup until the ends of the cable have passed through the cavity channels.

Don’t tug hard on the cables—if the ends prove to be

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QUICKCONNECT PICKUPS If you have a post-2010 Gibson Les Paul, there’s a good

Not only will it make swapping even faster, but it will

chance that it has QuickConnect wiring, the pickups,

also enable you to maintain the correct height for every

switch and output socket all plugged in to a printed

pickup you own. Otherwise, every time you fit it to the

circuit board housing the potentiometers and capacitors.

ring you’ll have to reset the height—and, as we’ve seen,

Changing QuickConnect pickups couldn’t be a simpler

the distance between the strings and the poles can have

process. You open up the back cover plate, look for the

a big impact on the sound.

cables marked “bridge” and “neck,” and carefully pull out the relevant connector in the PCB. All you have to do then is unscrew the pickup ring, pull the wires carefully out of the cavity, remove the pickup from the ring, and replace it with the new pickup. Once you’ve rethreaded the cables, all you have to do is screw the pickup back in place and slot the new QuickConnect plug into the PCB. Job done! If you buy into Gibson’s new modularity and maintain a collection of humbuckers for your Les Paul, it’s a really sensible idea to buy an additional ring for each pickup.

5

6

accompanying screws and springs.

Black Cat in the cavity and screw the ring back in place.

7

8

1 inch beyond the neck volume pot and shorten the cable to

non-grounded terminals.) Resolder the capacitor to terminal

that length. Strip and tin the hot and ground wires.

1 of the pot if it has become detached. Refit the back plate.

Remove the neck pickup from the ring by unscrewing the spring-loaded height adjustment screws on either side

of the pickup. Fit the Black Cat pickup to the ring using the

Thread the cable through the channel connecting to the main cavity at the back of the Les Paul. You can now

screw the pickup rings back in place. Pull the cable about

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Thread the Black Cat’s cable through the hole in the neck pickup cavity pointing to the bridge. Collect the end in

the bridge pickup cavity and pull to take up the slack. Fit the

Solder the hot wire to terminal 1 of the neck volume pot and the ground wire to its casing. (Ensure that any

ground braiding of the pickup cannot make contact with any

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THE P-90 CONVERSION

Rather annoyingly, however, the P-90 pickup is a different

The original Gibson Les Paul was a single-coil instrument

size to the humbucker, so a strightforward replacement is not

fitted with a pair of P-90 pickups. These produced a brighter

possible. The P-90 is longer and narrower and won’t quite fit

sound than their noise-free replacements, the PAF

into a humbucker cavity without a small amount of body

humbuckers. Both Gibson and Epiphone still produce Les

routing. Consequently, we wouldn’t seriously advise this on a

Pauls with P-90s, although these are instruments with a niche

vintage or particularly valuable Les Paul.

following. While it’s possible to get a single-coil sound from a

There are clearly any number of ways of chipping out

humbucker by splitting the coils—as you’ll see over the next

small amounts of wood from the body of a guitar with drills,

few pages—the sound it produces is quite different from a

chisels, and files—all capable of the doing the job to some

classic P-90.

degree. Here we’ll use a simple rotary tool fitted with a router

Here we’ll take a look at converting a twin-coil Les Paul to take a single-coil P-90. In this example we’ll convert just the neck pickup—in fact, a PAF bridge/P-90 neck combination is

bit, with which it’s possible to achieve high-quality results without professional routing gear on small jobs such as this. With care, you should be able to rout the existing cavity in

a classic mod, which creates a very versatile instrument,

such a way that if you want to refit a humbucker in the

especially if you incorporate additional coil switching into the

future, then it ought to be possible without any visible

humbucker circuit.

physical traces of this modification.

1

2

screws, one large screw close to the neck pickup, the other on

volume pot, and its ground wire, which is soldered to the case

the chrome bracket fixed to the side of the body.

of the pot. You can now remove the pickup.

3

4

in both directions. Draw around the pickup cover with a

plunge router attachment, which will ensure that the tool is

sharp pencil. You will see that a segment of each corner needs

held vertically. Clean the edges with 80 grade sandpaper until

to be removed for the P-90 to fit.

the P-90 cover fits into the cavity.

Take a crosshead screwdriver and unscrew both the neck and bridge pickup rings. At the same time, remove the

floating pickguard—it’s held in place by two crosshead

Take some masking tape and place it around the edge of the pickup cavity. Take the pickup cover of the P-90 and

place it over the cavity. Ensure that it is centrally positioned

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Remove the four screws holding the back plate. Take your soldering iron and remove the neck pickup’s “hot”

wire, which is connected to one of the terminals of the neck

Very carefully remove the four marked areas. The only way to do this neatly is with a router, or a rotary tool

with a routing bit. If you have the latter, try to get hold of a

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SWAPPING OUT PICKUPS

5

To provide you with a degree of height adjustability, cut a piece of

1/2-inch

polystyrene, and cut it

1/4

inch smaller

than the cover of the P-90.

6

Feed the cable from the P-90 through the channel in the corner of the neck pickup cavity. It must then be passed

through the bridge pickup cavity and into the control cavity.

7

8

the casing.

than 13/4 inch. If it is, remove the tip with a saw or a file.

9

10

absolutely certain that the pickup is centered with the

P-90-sized pickup ring from a sheet of pickguard material.

fingerboard or else the strings won’t align with the pole

You can buy sheets in pretty well any color to match the

pieces. Push the fixing screws through their holes, give each

bridge pickup ring. With care, if you make the ring the same

one a gentle tap with small hammer to get it started, and then

outer size as that used with the original humbucker, you can

screw the pickup in place.

use the existing corner screw holes.

You can now solder the P-90 into the Les Paul’s circuit. The “hot” wire should be soldered to terminal 1 of the

volume potentiometer; the ground wire should be soldered to

Fit the piece of polystyrene into the cavity and then insert the P-90 pickup. The P-90 is held in place by two screws

between pole pieces. Before you screw them in place, make

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137

(Text)

Measure the fixing screws that came with the P-90. If you are modifying an Epiphone Les Paul, which will may

have a thinner body than a Gibson, ensure that it is no longer

Refit the bridge pickup, the back plate, and the pickguard. Test out your new pickup. As it stands, it

will look a little bit untidy. A neat solution is to cut your own

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CHAPTER 4 | ELECTRICAL FIXES

HUMBUCKERS AND SWITCHES A humbucking pickup consists of two coils. These are connected electronically out of phase and with opposing magnetic polarities, which has the effect of canceling out much of the hum and electrical interference that plagues single-coil pickups. Four-wire humbuckers give you direct access to the ends of each coil, and by bringing a simple switch into the circuit it can be used to alter the behavior of an individual coil. Current flows can be altered or interrupted to create a variety of tonal effects.

HUMBUCKER IN ACTION

It’s also possible to wire up a humbucker in a way that

If you look at a humbucking pickup, the possibilities for

only one of the coils is working: this is called coil splitting

integrating it into an electrical circuit will depend on whether

and it turns the twin-coil humbucker into a single-coil

it has two or four connecting wires. Some vintage

pickup. This means that it will have more bite, but at the

humbuckers will simply have a hot and a ground wire, each

same time it will lose the noise-reduction and tonal

connected to a separate coil, with the opposite ends of the

characteristics of a conventional humbucker. It’s possible to

two coils joined within the casing. Most humbuckers

wire up a split humbucker for either the adjustable or slug

produced since the 1970s have four shielded wires,

coils to be active. (This wiring is sometimes wrongly referred

connecting to the start or end points of each of the coils.

to as coil tapping, which can only be done to certain pickups

These can be wired in a variety of ways.

that have been wound in a way that part of the coils can be

The coils in a standard humbucker are wired in what is called series. Like a twin-wire humbucker described above,

switched in and out.) It’s also possible to wire the two humbuckers fitted to your

the start ends of the two coils are the hot and ground

Les Paul so that they play out of phase with each other, which

connections respectively; the opposite ends of each of those

causes the cancellation of certain frequencies and creates a

coils are joined together, so the current flows through the first

unusual, thinner tone.

coil and then into the second. The standard alternative to this

By bringing one or more switching mechanisms into your

is parallel wiring, where the coils are connected to one

Les Paul’s circuit it becomes possible to flip between any of

another at both ends, so the current flows through both coils

the above wiring configurations. (Indeed, on pages 146–149

at the same time. This produces a brighter sound but with a

there is a circuit for a Jimmy Page–style Les Paul that uses all

much lower output.

of them.)

COVERED OR NOT? Many humbuckers are supplied with a cover, usually made

to raunchier, hard-edged sounds. Also, removing the

from nickel or chrome, so the magnets and coils are not

cover makes it possible to bring the pickup closer to the

seen. Covers are held in place along the base of the pickup

strings, increasing output and changing the tone.

with a few drops of solder at the edge, which is easy to

Slug coil

remove. (Although take care not to overheat the pickup with your soldering iron as it may create an unpleasant mess if the pickup has been “potted” with wax.) When the cover is removed you can clearly see the two separate coils—one “screw coil” with adjustable pole pieces and one non-adjustable “slug” coil. The use of covers will have a very slight effect on sound since, in a small way, the metal disrupts the magnetic field. When played clean, a covered pickup tends to sound smoother and sweeter, with a gentler attack; uncovered humbuckers are arguably better suited

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Screw coil

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HUMBUCKERS AND SWITCHES

Bare Knuckle/Tom Anderson

DiMarzio/Benedetto

Bartolini/Jackson

North polarity (slug)

North polarity (slug)

North polarity (slug) Hot

Hot Coil start

Coil end

Ground

Hot Coil end

Coil start Ground South polarity (screw)

South polarity (screw)

Lindy Fralin

Gibson/Bill Lawrence

North polarity (slug)

North polarity (slug)

North polarity (slug)

Hot

Hot

Hot Coil end

Coil start

Coil end

Coil start Ground

South polarity (screw)

Fender/Kent Armstrong

Coil end

Coil start

Coil end

Coil start

Ground

Ground

Ground

South polarity (screw)

South polarity (screw)

South polarity (screw)

Lollar

Peavey

Seymour Duncan

North polarity (slug)

South polarity (slug)

North polarity (slug)

Hot

Hot Coil end

Coil start

Hot Coil end

Coil start Ground

Ground

139

South polarity (screw)

Coil end

Coil start Ground

North polarity (screw)

COLOR CODING So that you can connect the humbucker correctly, the four wires are color-coded, using red, white, green, and black PVC shielding. There may also be an additional bare wire, which has to be soldered to the ground. The most incredibly annoying

South polarity (screw)

6 switch terminals 3 potentiometer terminals

thing about humbuckers, however, is that there is no conformity between manufacturers! This means that if you plan to install a replacement four-wire humbucker then it’s absolutely critical that you check out specific wiring instructions. To help you out, you’ll find color-coding diagrams for many of the leading pickup manufacturers in the box above. (For clarity, the white wire is shown in gray.) All Gibson-built humbuckers have a north-polarity slug coil with the start (the hot wire) connected to the red cable and the end of the coil connected to the white cable; the adjustable coil has south polarity, with the start connected to the black wire (ground), with the opposite end connected to green.

Push-pull potentiometer/switch combination

COIL SWITCHING

the switch. Push-pull pots are generally viewed as a better

To integrate switching into your Les Paul’s circuitry you can

option on Les Pauls so that it avoids having to drill out holes in

either wire in one or more miniature toggle switches or replace

the body to make room for toggle switches. Although, as has

volume or tone controls with a “push-pull pot.” This is a unit

been the case with various versions of Jimmy Page’s Les Pauls,

that combines a switch with a potentiometer. Although the

it is possible to integrate small switches on the underside of the

functions work independently of one another, the stem of the

floating pickguard, with the wires fed through to cavities via a

potentiometer can be pulled up and pushed down to activate

hole in the side of the pickup ring.

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140

CHAPTER 4 | ELECTRICAL FIXES

WIRING THE COIL SPLIT In this example we’ll take a look at splitting the coils of the bridge humbucker on your Les Paul. For switching we’ll use a push-pull potentiometer on the bridge volume control.

Capacitor

To make this modification you will need to get hold of a 500K push-pull logarithimic potentiometer: for a Gibson Les Paul you’ll need a long-sleeved unit; a standard length should be fine for an Epiphone. We will assume that the existing pickup

Humbucker ground (black/bare) (pot casing)

Three-way switch

Humbucker hot (red) 1

2

3

is a four-wire Gibson humbucker with standard wiring—this means that red is hot, black is ground, and the green and white cables that connect to the ends of each coil have been soldered together and insulated. If you are installing a pickup

Humbucker coil ends (green/white)

from scratch, unscrew and remove the pickup from the body and the ring after Step 2, and then take the new pickup, fix it

1

4

2

5

3

6

to the ring, thread the cable through to the main cavity, and screw the ring in place on the body.

1

2

carefully remove the ground wire from the pickup (black) and

capacitor to prevent damage. Desolder the wire connecting

all of the other ground connections to the pot casing.

the switch to terminal 2 of the potentiometer.

3

4

Remove the back plate from your Les Paul using a crosshead screwdriver. Identify the volume control for

the bridge pickup. Switch on your soldering iron and

Remove the knob from the potentiometer. If it’s too tight to remove by hand, use the cloth ribbon technique shown

on page 126.

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If your Les Paul has standard wiring, remove the hot wire from the pickup and the capacitor leg from terminal 1 of

the pot. Make sure that you use a heat sink on the leg of the

Unscrew the nut holding the potentiometer in place on the body. Remove the washer and then slide the pot

through the hole in the body.

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HUMBUCKERS AND SWITCHES

5

6

of shielded wire around 2 inches (50.8mm) in length and tin

(red) and the leg of the capacitor to terminal 1 of the

both ends. Solder the end of one wire to terminal 3 of the pot.

potentiometer. Remove any insulation that might have been

Take the second wire and connect it to terminal 3 of the

covering the the coil end wires (green and white) and solder

switch. Take the opposite ends of both wires and solder them

both to terminal 2 of the switch. Solder the wire from the

to the pot casing.

three-way selector switch to terminal 2 of the pot.

7

8

removed in Step 1, such as connections to other pot casings

the volume control knob. When the knob is in the regular

You can now fit the push-pull potentiometer to the body.

down position the pickup will once function as a normal

Insert the stem through the hole in the cavity and secure at

humbucker; if you pull the knob upwards (see photo above),

the front with the washer and nut.

only the non-adjustable (slug) coil will be working.

Take the push-pull pot and tin all three potentiometer terminals, terminals 2 and 3 of the switch section, and an

area of the pot casing for the ground. Take two small lengths

Now solder the ground wire (black) and the bare ground wire (both from the humbucker) to the pot casing, along

with all of the other ground wires that might have been

141

Before fixing the push-pull pot in place, solder all of the connections—these will be difficult to do once it has been

fitted to the body. Solder the hot wire from the humbucker

Before you finish, check that the new wiring is solid and that bare wires are not unintentionally making contact

with any of the other terminals. Refit the back plate and

ACTIVATING THE ADJUSTABLE COIL Using this circuit, only the slug coil will be active. It’s also

nodal points. To reconfigure the diagram for the

possible to wire the switch so that when the coils are

adjustable screw coil, connect the humbucker in the

split, only the adjustable coil will be heard. On the bridge

following way:

humbucker, the difference between the sound of the two

GREEN to Terminal 1 POT

coils may be noticeable: the coil furthest from the bridge

WHITE to Ground (with bare wire)

will be slightly warmer and less brittle in tone than the

BLACK to Terminal 2 SWITCH

other, which is closer to the bridge, one of the string’s

RED to Terminal 2 SWITCH

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CHAPTER 4 | ELECTRICAL FIXES

SERIES/PARALLEL WIRING On a similar theme, you can rewire the switching element of the push-pull potentiometer with a four-wire humbucker to

Humbucker screw coil start (black)/bare) (pot casing)

Three-way switch

enable you to flip between series and parallel wiring instead Capacitor

of switching off one of the coils. The schematic diagram for the switch is shown on the right. (As before, the color codes used here refer to a Gibson humbucker—if you are using a pickup by a different manufacturer, check out the chart on

Humbucker slug coil start (red)

1

2

3

page 139 or the instructions accompanying the unit.) To apply this modifiction from scratch, follow steps on page 140–141 for the removal of the original pot and the insertion of the push-pull pot, but this time wiring the terminals as

Humbucker screw coil end (green)

shown on the right. The original connections at the pot to the capacitor, switch, and ground should be made. Additionally, the humbucker wires should be connected as follows:

1

4

2

5

3

6

Humbucker slug coil end (white)

Slug coil start (red wire) to terminal 1 of the potentiometer.

Take an additional piece of shielded wire (about 1 inch long), tin both ends, and solder a “jump” connection from terminal 1 of the pot to terminal 3 of the switch. Slug coil end (white wire) to terminal 5 of the switch. Screw coil start (black wire) to the ground (along with the bare

ground wire), sodlered to the casing of the potentiometer. Screw coil end (green wire) to terminal 2 of the switch.

When the push-pull volume control knob is in the down position, the humbucker will have parallel wiring; when the knob is pulled up, the humbucker circuit is reconfigured for series wiring. This can also be applied to a simple double-pole doublethrow (DPDT) toggle switch.

Gibson humbucker wiring for series/parallel switching

PUSH-PULL TO TOGGLE SWITCHING Any guitar circuitry you see that involves switching can

Although toggle switches are generally thought to be

easily be adopted either for a combination potentiometer

easier to use while playing, they also have to fitted

and switch unit (such as the push-pull pots that we have

somewhere else on the body, either with holes drilled

a;ready seen) or by leaving the existing potentiometer in

between the pots, or hidden away beneath the

place and adding a separate double-pole, double-throw

pickguard (see page 129). Any of the switching examples shown in this chapter

(DPDT) toggle switch. The clear appeal of push-pull pots (or other switch/

can be wired for push-pull pots or a dedicated toggle

potentiometer combinations) is that they can be

switch. In the diagram above it really is as simple as

accommodated merely by replacing standard pots and no

detaching the top half of the diagram (the pot) from the

additional holes have to be drilled out of the body.

bottom (the switch) and wiring them independently.

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HUMBUCKERS AND SWITCHES

OUT OF PHASE PICKUPS

143

ALTERNATIVE TONE WIRING

When the pickup selector switch is in the center position and both pickups are engaged, it’s possible to produce an

As you will doubtless have figured, there is no one

interesting range of sounds by reversing the polarity of one of

totally perfect way of wiring up a guitar, but many

the pickups. If the two pickups play together when they are

different routes to achieving broadly similar results. You may notice that the way in which the capacitor

what is termed out of phase, some of the shared frequencies are canceled out creating an overly bright sound that is sometimes

is integrated into the tone circuitry is a little different

described as “nasal.” By altering the relative volume of the

on the diagram below. While so-called standard and

pickups the effect can be made more subtle.

vintage wiring has the capacitor crossing terminals of the volume and tone controls for each pickup, this

Phase reversal is not a sound loved by all, although for some it represents a preferred lead tone. Peter Green is perhaps the

version is found on some Epiphone Les Pauls, and sees

most noted exponent of the out-of-phase Les Paul. His most

the capacitor wired between one of the terminals of

celebrated 1959 Standard (later owned by Gary Moore) was

the tone control and the ground on its casing. This, in

permanently out of phase, and this was achieved not by wiring

fact, is a more conventional positioning on non-Gibson

or by turning around the pickup in its ring—as has sometimes

guitars—the Fender Stratocaster, for one, is wired in

been wrongly declared—but by the magnets in the neck

this way.

pickups having been flipped around during a repair, most likely given conventional wiring by joining the coil ends; so it will

by accident.

also work for any humbucker that just has a single hot and

It’s possible to switch the polarity by a simple rewiring

ground wire.

modification. And although you won’t get exactly the same

In practice, if the knob is down the pickups are in phase,

sound as Peter Green you can create a similar kind of effect. This mod integrates a switch that, when engaged, reverses the

which would be the normal state for an unadulterated Les

polarity by swapping the hot and ground wires in one of the

Paul; when the knob is pulled up, the sound will be out of

pickups. In the example below we’ll use a push-pull pot on the

phase. Don’t forget, though, that for this effect to work, both

bridge volume control. This shows a four-wire humbucker

of the pickups must be engaged! Humbucker coil ends (green/white) joined and insulated

Volume push/pot (bridge) 500K LOG

Bridge humbucker

1

4

2

5

3

6

Volume pot (bridge)

bridge/tailpiece

Capacitor

Ground

Ground

(casing)

(casing)

Tone pot (bridge)

Tone pot (neck)

500K LOG

500K LOG

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In

3

Capacitor Ground wire to

Out

(casing)

(casing)

2

In

Ground

Ground

1

Ground

Neck humbucker

500K LOG

Humbucker coil ends (green/white) joined and insulated

Pickup selector switch

(Text)

Hot

Ground

Output socket

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CHAPTER 4 | ELECTRICAL FIXES

KILL SWITCHES AND KILLPOTS As far back as the early 1960s, electric guitarists could sometimes be heard creating a rhythmic staccato effect by playing long, sustained, distorted chords, and then rapidly moving their pickup selector switches back and forth in time with the music. On a Les Paul, this effect can be created by setting the volume controls for each pickup or by wiring in a special switching mechanism.

SWITCHING EFFECTS It was players of Gibson guitars that first began using their

in the body of your Les Paul to fit the switch. To avoid this,

pickup selector switches to produce creative sonic effects. (In

once again we can use a potentiometer/switch combo.

fact, any two-pickup guitar with circuitry that features a separate volume control for each pickup, as well as a three-way

FITTING A KILLPOT

selector switch, can reproduce this effect.) The set-up is pretty

A killpot works like the push-pull switch, except that when

simple: you set the bridge pickup volume at “10” and the neck

you push on the control knob the switch will only engage for

volume at “0,” flick the selector switch to the bridge pickup,

the amount of time it is held down. It is a regular

and then play a chord; while it sustains, you rhythmically flick

potentiometer with a single-pole, single-throw (SPST) switch

the selector switch back and forth between the bridge and neck

built in. In this example, we’ll replace the volume control at

positions. This has the same effect as switching the pickup on

the bridge with a 500K logarithmic killpot produced by the

and off in quick succession. Of course, if you want to play off

German company, Shadow.

both pickups or like to have stock settings in place for each

If you hold the unit with the end of the shaft pointing downwards you’ll see that it has the standard three

pickup, then this technique won’t work at all. Later players like Tom Morello and king shredder

potentiometer terminals (which we‘ve labeled 1, 2 and 3 in

Buckethead took this approach a step further by wiring a

the diagram on the right). There are then two further

push switch—sometimes called a “killswitch”—into the

terminals for the switching (4 and 5) on the top of the unit.

circuit, so that when the button was pressed the signal cut

On a Les Paul it is probably a little easier to solder the

out. This is a very simple modification that can be fitted to

ground wires in place on the killpot before you install it in the

any guitar (see the diagram below). The only real problem

body, after which you can solder the input and output

with installing a killswitch is that you will need to drill a hole

connections and the capacitor.

KILLSWITCH WIRING Wiring a killswitch is extremely simple. For it to work,

unplugging a guitar into an amplifier each time you press

though, the switch needs to be of a non-latching type, so

the switch.

that it doesn’t physically click into place—you want it

This method will also require you to drill into the body

only to make contact as long as pressed down, otherwise

of your Les Paul to accommodate the switch. You could

the characteristic “machine gun” effect won’t be possible

bury a suitably small switch on the underside of the

to do at high speed.

pickguard, but this won’t be as easy to use in practice.

The diagram here just shows the volume pot, as no other wiring needs to be changed—you’re simply adding it to what’s already there. In effect, all you are doing is

Volume pot

switching the hot signal to ground while the switch is engaged. This, of course, means that to use this wiring the switch would only function for one of the two

1

2

3

Pickup

pickups. There are plenty of circuits floating around online that wire the switch across the output terminals. While this will work as a master kill switch, it’s not ideal as it can sound like the nasty buzz you get plugging and

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Output

Killswitch

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KILL SWITCHES AND KILLPOTS

145

1

Switch on your soldering iron. Remove the existing bridge volume control as shown on pages 126–127.

(Remember to use a heat sink when removing the capacitor.) Tin all five terminals on the killpot (labeled 1 to 5 on the right) as well as the metal casing. Take three pieces of shielded cable a little more than an inch in length, and strip

4

and tin the ends. Connect one of the cables between terminals 1

1 and 4; connect a second between terminals 3 and 5; and

5 2

3

connect a third between terminal 3 and the casing.

2

Before you solder the other ground wires on to the casing, fix the killpot in place on the scratchplate. On the

threaded shaft of the killpot you will find a pair of nuts with a washer in between. Remove the top nut and washer. Rotate the remaining nut until the distance from the nut to the tip of the shaft is close to 5/8 inch (15.8mm), thread it through the

hole in the scratchplate, and lock in place with the washer and nut. (Note: if the distance between the tip and the nut is much shorter than 5/8 inch then there will be no space beneath the edges of the knob to activate the killpot.) Fit the knob and make any further necessary height adjustment.

3

Solder the input wire from the humbucker to terminal 1.

Clearance gap for

Using a heat sink, also solder the leg of the capacitor

killpot to function

that crosses between the volume and tone control. Solder the output wire that attaches the three-way switch to terminal 2. Finally, solder the remaining ground wires (from the pickup and other volume and tone controls) connecting to the metal casing of the killpot. For the killpot to work there needs to be enough of a gap to press down the knob without it making contact with the surface of the body. When you’ve tested the killpot, you can replace the back cover.

Input from pickup Body Washer Nut

Capacitor Output to switch

Nut

GND

FOR OTHER LES PAUL WIRING You can install the killpot on any Les Paul wiring and on any potentiometer. The key is always in making one switch connection with the output wire, and the other to the ground, so that when pressed, the hot signal goes to the ground instead of the output.

1 4 2 5 3

To use a volume push-pull pot if your Les Paul has vintage wiring (see page 123), the connections are the same as shown left except that terminal 2 rather than terminal 1 will connect

”

5/8

to the capacitor. Ground to casing

To use one of the tone controls, you need to make a bridging connection between the in/out connection (which will be terminal 2 using standard wiring) on the

Killpot volume control installation

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(Text)

potentiometer and terminal 4 of the switch.

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CHAPTER 4 | ELECTRICAL FIXES

JIMMY PAGE 21-TONE LES PAUL WIRING Led Zeppelin’s Jimmy Page is rightly heralded as one of the greatest guitarists in rock history, and his sunburst Les Pauls are also among the most noted of electric guitars. Page’s guitars have been heavily modded over the years, and here we’ll take a look at one example of his unusual wiring, which sees the four standard pots replaced with push-pull switching pots that variously split coils, alter phasing, and plays both pickups in series. This gives a combination of an impressive twenty-one different tonal possibilities. We consider this to be the mother of all Les Paul wiring!

WIRING A DUMMY

As with all guitar electronics, there is nothing particularly

Because this is a fundamental rewiring job, we’re going to fix

difficult about this mod. Be warned, however, that this does

the new components temporarily onto a body “dummy”

require soldering in some pretty tight spots, so it’s very easy to

made from cardboard. This means that most of the wiring

make mistakes.

can be done away from the guitar. We can then transfer the loom into the back of the Les Paul where the final soldering of the parts fitted within the guitar can be completed. To remove the original potentiometers, we’ll disconnect them from the pickups, switch, output socket, and ground

1

Rest your Les Paul face down with the body on a padded surface. Undo the four screws and remove the backplate.

Use masking tape tags to label the wires that run to the switch and pickups.

wire, and then take them out from the cavity. The new push-pull potentiometers should be 500K with a logarithmic taper. (Note: 300K push-pulls don’t exist, although you could in theory convert a 500K pot by shunting something like a 750K–1M resistor over both outside lugs, but it wouldn’t be quite the same.) If you’re modding a Gibson, because of the thickness of the top of the body, you will need long-collared/shafted pots; many Epiphone Les Pauls will be fine with a standard length, but it’s a good idea to unscrew an original pot just to check.

2

3

we rewire the Les Paul.

and remove the knobs.

Using a heat sink, desolder the two capacitors that are currently connected between each pair of pots. Take care

with these two components, as we will be reusing them when

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Desolder (or snip close to the terminal) the labeled wires to the pickups and switch terminals, and the separate

ground wire that runs to the bridge. Turn the Les Paul over

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JIMMY PAGE 21-TONE LES PAUL WIRING

Three-way Switch

Push/pull pot

Push/pull pot

(neck pickup volume)

(bridge pickup volume)

Ground

Neck humbucker

Bridge humbucker

147

BARE (ground) Ground wire to 1

4

2

5

bridge post

BLACK

BARE (ground)

2

5

3

Out

In

6 Ground

Ground

1

2

In

6 RED (hot)

(casing)

BLACK (ground)

4

(ground)

WHITE/GREEN 3

1 WHITE/GREEN

RED (hot)

(casing)

1

3

2

3

Capacitor 3

2

1

Capacitor

Ground

0.047μF 3

2

1

0.047μF Ground

(casing)

(casing)

6

3

5

2

4

6

3

5

2

4

1

1

Push/pull pot

Hot

(bridge pickup tone)

Push/pull pot (neck pickup tone)

Ground

Output

4

To make the body “dummy,” which we’ll use to hold the components in place while we solder them, you will need

a piece of corrugated cardboard at least 4 inches square (101.6mm). The easiest way to mark the positions of the pots is to press them against the exposed stems until each one makes a hole in the card (see right). Now make the four holes holes roughly the same size as those on the body. Take each of the four new push-pull potentiometers and remove the nuts and washers. Thread each one through one of the holes rotated as shown in the photograph so that each pair has facing terminals. (If the pots are too loose in the card you can secure them from the other side using the nuts.)

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CHAPTER 4 | ELECTRICAL FIXES

5

Wire the volume and tone pots for both bridge and neck pickups. Consult the diagram on page 147 for the

terminal numbering used below and also to see

VOLUME POT (BRIDGE)

diagrammatically how the connections need to be made. Most of the connections require a short piece of shielded wire, which should be tinned at either end before use.

VOLUME POT (NECK) VOLUME POT (BRIDGE)

Switch terminal 2 to switch terminal 2 of tone pot Pot terminal 3 to ground (pot casing) Pot terminal 2 to pot terminal 3 of tone pot TONE POT (BRIDGE)

Switch terminal 4 to switch terminal 3 Switch terminal 1 to switch terminal 6 Capacitor between pot terminal 2 and ground (casing) VOLUME POT (NECK)

TONE POT (BRIDGE)

Switch terminal 3 to switch terminal 2 of tone pot Pot terminal 3 to ground (pot casing) Pot terminal 2 to pot terminal 3 of tone pot TONE POT (NECK)

TONE POT (NECK)

Switch terminal 1 to ground (pot casing) Switch terminal 3 to switch terminal 6 Capacitor between pot terminal 2 and ground (casing) Switch terminal 4 to pot terminal 3 of bridge tone pot Switch terminal 5 to switch terminal 1 of bridge tone pot

6

Remove the loom from the cardboard, first undoing the

yet secure them with the washer and nut—you may need

nuts and washers. Now insert the four pots in their

to pull them out in order to solder the terminals.

matching holes in the back cavity of the Les Paul. Take care as you do this that none of the connections are broken. Don’t

7

Solder the humbuckers as shown on page 147. (Wiring is shown for Gibson four-wire humbuckers; for other

brands, convert using the chart on page 139.) NECK HUMBUCKER

Green and white wire to switch 2 of volume pot (neck) Black wire to switch 3 of volume pot (neck) Red wire to terminal 2 of volume pot (neck) Bare wire to ground (pot casing) BRIDGE HUMBUCKER

Green and white wire to switch 3 of volume pot (bridge) Black wire to switch 5 of tone pot (bridge) Red wire to terminal 1 of volume pot (bridge) Bare wire to ground (pot casing)

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149

8

Wire up the switch and ground connections as shown in the diagram on page 147.

SWITCH

“Up” input terminal to pot terminal 1 of neck volume “Down” input terminal to pot terminal 1 of bridge volume Output terminal to “hot” terminal of output socket Ground terminal to ground (neck volume casing) GROUND

Wire from bridge post to ground (bridge volume casing)

9

Test the new wiring thoroughly—the soldering is so detailed that mistakes can easily be made. Finally, fit the

back plate and the four knobs.

TONAL MELTDOWN!

Page switched from Telecasters to Les Pauls after the first

Before forming Led Zeppelin, Jimmy Page spent much of the

Led Zeppelin album, and later began working with an

previous decade as one of London’s top session men, often

assortment of alternative wirings, sometimes instead of using

playing multiple sessions in a single day. The bewildering

push-pull pots, fitting miniature switches on the underside of

variety of music to which he contributed helped Page develop

the pickguard.

an acute understanding of the wide variety of tones that could be produced, and how to use them most effectively. Pickup selector switch

Series/Parallel switch (neck tone)

We’re convinced that this wiring scheme provides the widest range of possible tones to any twin-humbucker guitar.

Phase switch (bridge tone)

Neck coil cut switch (neck vol)

Bridge coil cut switch (bridge vol)

Tonal combinations

Neck

N/A

N/A

Down

N/A

Neck humbucker (both coils)

Neck

N/A

N/A

Up

N/A

Neck humbucker (coil A)

Bridge

N/A

N/A

N/A

Down

Bridge

N/A

Down

N/A

Up

Bridge humbucker (coil D)

Bridge humbucker (both coils)

Bridge

N/A

Up

N/A

Up

Bridge humbucker (coil C)

Both

Down

Down

Down

Down

Neck and bridge, in parallel, in phase

Both

Up

Down

Down

Down

Neck and bridge, in series, in phase

Both

Down

Up

Down

Down

Neck and bridge, in parallel, out of phase Neck and bridge, in series, out of phase

Both

Up

Up

Down

Down

Both

Down

Down

Up

Up

Neck (coil A) and bridge (coil D), in parallel, in phase

Both

Up

Down

Up

Up

Neck (coil A) and bridge (coil D), in series, in phase

Both

Down

Up

Up

Up

Neck (coil A) and bridge (coil C), in parallel, out of phase

Both

Up

Up

Up

Up

Neck (coil A) and bridge (coil C), in series, out of phase

Both

Down

Down

Up

Down

Neck (coil A) and bridge (both), in parallel, in phase

Both

Up

Down

Up

Down

Neck (coil A) and bridge (both), in series, in phase

Both

Down

Up

Up

Down

Neck (coil A) and bridge (both), in parallel, out of phase Neck (coil A) and bridge (both), in series, out of phase

Both

Up

Up

Up

Down

Both

Down

Down

Down

Up

Neck (both coils) and bridge (coil D), in parallel, in phase

Both

Up

Down

Down

Up

Neck (both coils) and bridge (coil D)), in series, in phase

Both

Down

Up

Down

Up

Neck (both coils) and bridge (coil C), in parallel, out of phase

Both

Up

Up

Down

Up

Neck (both coils) and bridge (coil C), in series, out of phase

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CHAPTER 4 | ELECTRICAL FIXES

THE “ACOUSTIC” LES PAUL Is it really possible to make your Les Paul sound like an acoustic guitar? By using piezo pickups built into the Tune-o-matic bridge, you can actually get a reasonably convincing sound. Given that this is more or less an amplified version of an unplugged solidbody electric guitar, it’s not surprising to discover that this will hardly give a Martin OM-28 a run for its money, but on stage it can make for quite a respectable alternative, especially when the signal is mixed with the sound from the main pickups.

PIEZO PICKUPS If you want to retrofit piezo pickups to your Les Paul, there are a quite a few possible alternatives. Among the most popular products on the market are the Fishman Powerbridge, T-Bridge by L. R. Baggs, and Graph Tech’s Acousti-Phonic Ghost pickup. All of these systems necessitate the removal of the existing Tune-o-matic bridge and its replacement with a unit that has piezo pickups fitted to each of the six bridge saddles. Let’s take a look at the Fishman Powerbridge. On the surface this appears to be pretty well identical to a regular Gibson Nashville Tune-o-matic bridge, but if you turn it on its back you will see a narrow circuit board attached to the underside with a connected cable. There are two fundamental approaches we can take to

Fishman Powerbridge

installation: the Powerbridge can be fitted to the existing Les

Powerbridge passing directly to the PA, where it can be

Paul circuitry and operate passively, or it can be installed

mixed, equalized, and processed separately—indeed, this type

alongside the active Powerchip volume control/switching

of pickup tends to sound best when being connected directly

circuit, which runs on a 9-volt battery.

to a mixing board rather than a guitar amplifier. The major disadvantage here is that you have no onboard control over

BASIC INSTALLATION

the sound of the piezos as they do not pass through the Les

The advantage of using the most basic passive approach is

Paul’s volume and tone circuitry.

that it can be installed in less than thirty minutes and requires

It would be possible, of course, to wire up independent

no major invasive surgery to your Les Paul’s bodywork—

passive volume and tone controls, but this would entail

nothing more than a small cable hole drilled discreetly into

enlarging the back cavity to accommodate two additional

the side of the bridge pickup ring, and the replacement of the

potentiometers. Installing the active Powerchip will give you

standard output socket with a stereo socket (which is

simpler onboard control, but that also requires sufficient

included as a part of the kit).

space for new components, and that means either routing the

At its simplest, the wires from the Powerbridge can be

back again or losing one of the existing potentiometers. Faced

soldered directly to two of the terminals of the output socket,

with this constraint, players tend to go for rewiring the

which splits the signals between the magnetic pickups and the

existing circuitry with a single master tone control covering

piezos. If you connect a standard cable between the Les Paul

both humbuckers, so the space left in the cavity can be used

and your amplifier, it will work in its usual way. If, however,

for the Powerchip potentiometer.

you take a stereo cable from the guitar with two separate

All of the piezo systems mentioned above may cost in

monophonic jack plugs at the other end, then the signal from

excess of three hundred dollars for the basic kits, so it isn’t a

each pickup can be connected to two different amplifiers. On

cheap modification, but it will give your Les Paul an extra

stage, this might typically see the humbuckers connecting to

tonal dimension that can’t be achieved in any shape or form

your regular valve guitar amplifier, and the signal from the

using the existing circuitry.

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THE “ACOUSTIC” LES PAUL

151

ACOUSTIC SOUNDS A small number of Gibson and Epiphone Les Pauls have been fitted at the factory with “acoustic” pickups. The short-lived Gibson Les Paul Piezo model was kitted out with an L. R. Baggs piezo pickup, and Gibson’s Alex Lifeson signature Axcess range features a Graph Tech Floyd Rose with piezo saddles. One of the most interesting models of this type is the Epiphone Les Paul Ultra-III, which has a Shadow NanoMag acoustic pickup as well as a USB socket. The NanoMag is not a bridge saddle piezo pickup but is embedded at the end of fingerboard and features three samarium cobalt magnets, an air coil, and active electronics. The guitar has two output sockets: the output labeled “Mono” combines

the Ultra-III directly into your computer for use with

the two pickup types; “Stereo” has a separate output

software such as Native Instruments’ GuitarRig, which

socket for each. The USB socket enables you to connect

contains simulated amplifiers, speakers, and effects.

1

Remove the four screws that hold the back plate in place. Remove the strings, slip off the Tune-o-matic bridge, and

store in a safe place. Check that the Powerbridge fits the bridge posts; if not, use the additional studs/bushings that come with the kit.

2

Remove the four corner screws that hold the bridge pickup in place and lift the pickup from the cavity. Mark

and drill a 1/8-inch hole in the side of the pickup ring. The

hole should be 3/8-inch from the corner along the center line.

3

Take the end of the Powerbridge wire and thread it through the side of the pickup ring. In the bottom right-

hand corner of the pickup cavity you will see a hole where the pickup wire passes through to the back cavity; push the end of the Powerbridge cable as far as possible through that hole, pulling it through from the open back cavity. Fit the pickup back in its cavity using the four screws. Ground (humbuckers

4

Remove the output socket using the instructions shown on pages 124–125 and replace with the new stereo

and Powerbridge) Humbuckers (hot)

Tip Sleeve

socket. Solder the Powerbridge hot wire to the ring terminal Stereo jack plug

on the socket; solder the magnetic pickup hot wire to the tip terminal; solder the ground wire for both to the ground/sleeve terminal on the socket. Refit the socket panel to the body of your Les Paul.

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Powerbridge (hot)

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Ring

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CHAPTER 4 | ELECTRICAL FIXES

ADDING MIDI TO YOUR LES PAUL The first MIDI-equipped guitars appeared in 1984, which was only a year after the birth of what quickly became the most widely used communications “language” for musical instruments. MIDI offered the guitarist the kind of sonic flexibility enjoyed by keyboard players—the ability to trigger synthesizer sounds by picking the strings of the guitar.

MIDI AND THE GUITAR

FITTING A HEXAPHONIC PICKUP

Musical Instrument Digital Interface (MIDI) has been far and

This technology requires two distinct components: the

away the most successful attempt at a universal

hexaphonic pickup/control unit and the external device. The

communications protocol between music technology. With

pickup (in effect, six individual pickups—one for each string)

widespread industry backing, take-up among musicians was

is positioned directly in front of the bridge: this point, close

instant and it quickly became the standard method for linking

to one of the nodes of the string, is where there is the smallest

synthesizers, sequencers, drum machines, and, later,

amount of string movement, which ensures the most accurate

computers. It’s no exaggeration to say that its very existence

tracking of pitch information. The pickup creates no audio

fueled the explosion of 1980s synthpop, eventually evolving

output signal, but generates data that can trigger the internal

into the whole EDM (electronic dance music) genre.

sounds on Roland’s external guitar synthesizer modules. And

Experiments to bring the electric guitar into the MIDI fold

since this is also equipped with a MIDI out port, it becomes

began almost immediately, the most viable approach being

possible to trigger any other kind of MIDI sound device or to

the development of a hexaphonic pickup which was able to

record MIDI note information into computer software.

convert note information coming from the guitar strings into

Although there have been Les Pauls with in-built MIDI

binary data that could be interpreted by any external MIDI-

capabilities, you can see below that it’s very easy to install a

equipped device.

system like this on any Les Paul.

To give an example of how MIDI might work on a guitar, the notes produced by different frets on the bottom E string could be used to control the different sounds of a drum machine, the A string could trigger a different bass synthesizer, and the remaining four strings could play chords on a digital piano. Part of the reason there was a slow uptake was that initially the technology suffered from crude latency problems—a tiny but perceptible delay in plucking a string and hearing the note played on a MIDI device. Additionally, manufacturers with little experience of the guitar world were selling mediocre instruments with inbuilt MIDI capabilities. Guitarists began to warm to the idea of MIDI in larger numbers when Japanese synthesizer manufacturer Roland produced a system that could be fitted to pretty well any guitar without requiring so much as a screw hole to be drilled. So a player could simply enhance a favorite guitar with a MIDI capability. It was largely thanks to the prolonged

1

Position the MIDI pickup directly in front of the bridge, making sure that the six “poles” align with the strings.

These need to be as close to the strings as possible without

efforts of Roland that a niche market began to emerge—and

touching them. A standard Tune-o-matic bridge stands high

continues to grow.

above the body surface so the pickup needs to be secured in

Other makers of retrofittable MIDI guitar pickups include

on a block of wood fixed between the bridge and pickup ring.

Fishman, Graph Tech, Yamaha, and Axon.

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ADDING MIDI TO YOUR LES PAUL

153

2

Fit the pickup’s control unit to the body of the guitar. It needs to be in a space that doesn’t get in the way of

your playing—because of the positioning of the knobs on a Les Paul, the rear of the tailpiece makes for an ideal location. Secure the control unit in place using the supplied selfadhesive pad—don’t worry, this won’t damage the body of your guitar.

3

Take the 13-pin cable and plug it into the control unit. Depending on which pickup you have, you are also likely

to find an option for routing the output of your guitar into the control unit using a small patch cable—few guitarists use this type of connection, though.

4

Plug the other end of the 13-pin cable into your Roland external device. Units such as the GR-55 contain hundreds

of preset sounds, tones, and amplifier models, and can also be programmed using separate computer software. Any additional MIDI devices can also be connected (see below). Amplifier/mixing desk Audio out

Valve amplifier

MIDI in (5) MIDI out

Digital Sampler

MIDI thru MIDI guitar synthesizer module MIDI channels 1–3 MIDI output 1st string/MIDI channel 1 2nd string/MIDI channel 2 3rd string/MIDI channel 3 4th string/MIDI channel 4 5th string/MIDI channel 5 6th string/MIDI channel 6

Audio out

MIDI thru

MIDI in (4) Synthesizer MIDI in (6) Synthesizer

MIDI out

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CHAPTER 4 | ELECTRICAL FIXES

HUM CONTROL Single-coil pickups can be noisy and prone to electrical interference—this is the main reason why the humbucking pickup was developed in the first place. The level of noise experienced on a Les Paul fitted with single-coil P-90 pickups will be a good deal greater than one fitted with twin coils, but—even then—a humbucker can only provide a limited amount of protection against hum, buzz, and noise.

SOMETHING IN THE AIR Guitar pickups can be highly prone to airborne interference generated by all sorts of electrical devices, including lights, televisions, computer monitors, and refrigerators. A magnetic coil effectively acts as an antenna, picking up 60-cycle (Hz) electrical power interference, which can be heard as an unwanted low-frequency hum. (This is made more irritating by the fact that it isn’t even in tune, and so makes it harder to mask—60 Hz hum sits midway between the notes A sharp and B.) This hum also contains harmonics of the fundamental frequency (see page 32), and when these become audible in a higher register, that hum turns into an unpleasant buzz. Since the kind of passive pickups found on a Les Paul have a small

Conductive paint (left); copper tape (right)

output, any interference they receive will also be amplified. How big a problem this is for you will depend on your

situation. Others have argued that it works too well,

specific Les Paul, when it was built, whether it is equipped

increasing the capacitance within the cavities to the point of

with P-90s or PAF-derived humbuckers, the environment in

repressing the treble frequencies.

which you play, and the nature of your music—in the context

The recommendation here is that with careful application

of a loud live rock band, as soon as you begin playing, any

it can be useful, but if it’s not implemented well it will

hum will be effectively masked; for delicate unaccompanied

probably be a waste of time. But like most of the mods on

jazz guitar work it may prove quite troublesome.

display here, if you don’t like what it does to your Les Paul then it won’t be that difficult to revert to the original state.

HUM SOLUTIONS The checklist on page 155 shows some simple diagnostic tests

SHIELDING YOUR LES PAUL

for you to try out to see if you can get to the bottom of the

Cavity shielding is not an intrinsically difficult job, but you

problem. If none of those tips help, then the ultimate solution

do need to allow yourself a couple of hours if you are using

for fighting electrical interference will come from shielding

self-adhesive copper foil; and the same amount of time spread

the Les Paul’s electrical parts using either copper-foil tape or a

over two days if you use conductive paint—which has to be

conductive copper paint. It’s fair to say that you’re more

allowed time to dry.

likely to notice dramatic improvements if your Les Paul has single-coil pickups, which, of course, most do not. Shielding is such a well-established practice that some

Let’s begin by looking at using copper foil as a shield. You’ll need self adhesive copper foil, which you can buy either by the sheet or in a spool of tape, a crosshead

modern-day Gibson and Epiphone Les Pauls already treat

screwdriver, a pair of scissors, and a sharp modeling knife.

cavities with the characteristic matt black coating of

(Depending on the existing grounding you may also need to

conductive paint—indeed, Gibson has occasionally

get out your soldering kit.)

experimented with this idea for more than five decades. That’s not to say that the idea is universally accepted.

Let’s look at shielding the main body cavity—the pickup and switch holes can be treated similarly. It isn’t necessary to

Some have complained that its efficacy has been heavily

shield the output socket cavity—it’s such a small space that

overplayed—it won’t suddenly make a noisy single-coil

there’s always a danger that the tip of the jack plug will make

pickup free from interference, but it can improve the

contact with the shielding if the socket becomes loose.

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155

LES PAUL: HUM AND BUZZ CHECKLIST If your Les Paul is making a noise when you plug in,

REMOVE THE CHAIN The more pieces of gear you have

before you take any dramatic action look at the steps

in the audio chain, the greater the potential for

below and see how they relate to your circumstances. It

problems. Remove all of the effects pedals, leaving only

might save you time and effort.

your Les Paul plugged into the amplifier. If that in itself stops the noise, then the problem lies either with one or

INTERNAL GROUNDING Select just the bridge pickup

more of the pedals, or perhaps may be a faulty patch

and set the volume to full. Don't touch the strings or any

cable. (By the way, for these tests, also ensure that the

of the hardware at all, just listen for the noise. If you

tone controls are on full, so there is no EQ cut at all.)

now touch the bridge on the guitar you should hear the noise level reduce; if it doesn’t then your Les Paul has a grounding problem. Check out all of the ground connections in your Les Paul’s circuitry to check that no wires have become disconnected. The most likely culprit will be the ground connection on the output socket. MOVEMENT Strap on your Les Paul, select just the bridge pickup, set the volume to full, make sure your hands are not in contact with the strings or bridge, and then slowly rotate through a complete circle. If the noise alters in certain directions this may provide you with clues to where significant interference is coming from. IS IT AN EXTERNAL GROUND ISSUE? Plug in your Les

(Look out for those dimmer switches!)

Paul and switch on the amplifier. If you hear a noisy COMPONENT TESTING Check all of your cables

signal, turn down the volume control on the guitar. If the

individually. Insert the pedals into the audio chain one

humming goes away immediately then you know the

unit at a time until you find the culprit. If you run a

problem is simple airborne interference; if it doesn’t, the

variety of power supplies with your pedals, try fitting

problem is with the amplifier. This is most likely to be a

batteries instead; it could be a faulty adapter. (Some

ground loop, and it most commonly occurs when using

pedals just work better on battery power, and some

two grid-powered components in a set-up that are

vintage pedals are simply just noisy.) If you use a large

powered from different sources. This creates different

number of pedals you really ought to get a single power

“potentials,” and will result in a low frequency (60 cycle)

supply unit—something like the T-Rex Fuel Tank can

hum. And it’s entirely a result of the household electricity

accommodate a large number of different effects from a

in a particular location. Some “solve” this problem by

single wall socket. And it might well eradicate any hum

disconnecting the ground from one of the sources. Don’t

problems at a stroke.

ever do this! The ground is your friend: removing it can have deadly consequences. If you suffer with ground-loop problems, buy a specialized hum eliminator, which acts as an interim between your equipment and the household power. It may not be particularly cheap (approaching a hundred dollars) for what looks like a simple wall wart, but it will offer a simple solution. THE LAST RESORT If you’re still unhappy with the level of noise, then screen the cavities of your Les Paul using some of the ideas shown over the next few pages.

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1

Lay your Les Paul down on a soft but supportive surface—a thick towel on a table is ideal. Remove the

back panel by undoing the four crosshead screws.

2

Before you remove the circuitry from the cavity, take a photograph of the circuitry with a digital camera or a

smartphone, just in case you need a reminder later on.

3

4

strip method shown on page 126.

spanner. Keep the nuts and washers in a safe place.

5

6

cavity. It can be rested on the edge of the body.

cleaner with a brush attachment and naptha spray.

Turn over the guitar and carefully remove the volume and tone control knobs. If they are too tight to come away

from teh stems of the potentiometers by hand, use the cloth

With care, it’s possible to shield the cavity without disconnecting the pickups and the output socket. Move

the four potentiometers so that wiring nest is out of the

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Using a socket spanner, remove the nuts and washers on each of the four potentiometers. For a Gibson, use an

imperial socket; for Epiphone Les Pauls, use a smaller metric

Prepare the surface of cavity walls and base. Whether you are using self-adhesive foil or conductive paint, the cavity

needs to be free from dust and grease—you can use a vacuum

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FIRST CHECK: OUTPUT SOCKET The first stage in dealing with a noise problem is to check the existing state of the ground in your Les Paul. Begin with the output socket. Follow the instructions on page 124 which shows you how to remove the socket from the body and then from its Ground

housing. Ensure that hot and ground connections are both absolutely solid; if either one feels loose then desolder and resolder the joint. When you screw the socket back onto its panel, make sure that the nut is

Hot

tight—a loose output socket can be responsible for any number of signal problems.

7

8

is fitted it creates a fully shielded “cage.”

should do the job.

Line the walls of the cavity area. Around the perimeter of the cavity, ensure that the foil creates a slight “lip” onto

the top surface of the body so that when the foil-backed plate

Line the cavity floor with the foil-backed tape. Use additional tape as an overlap between the floor and the

wall. If you are using one-inch strips, five four-inch lengths

9

10

bridge posts). Use foil to keep these gaps to a minimum.

use the tip of the knife to pierce the foil at the screw holes.

There are three wire holes in the cavity walls for connecting to: the output socket, the bridge pickup hole,

and the bridge ground cable (which connects to one of the

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Apply the foil to the reverse side of the back plate. If you are using foil strips, make sure that any gaps in

between are covered. Trim the edges using a modeling knife;

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CHAPTER 4 | ELECTRICAL FIXES

11

12

making sure that their cases are in good contact with

go clockwise. Push the knobs in place, each time with the

shielding foil.

number “10” pointing toward the headstock.

PICKUP AND SWITCH CAVITIES

USING A CONDUCTIVE PAINT

You can apply the same process to the pickup and switch

As a neater alternative to shielding with foil, you can coat the

cavities. The latter is perhaps the least significant, and with

cavities with a specially made conductive paint. It has exactly

the switch fitted to such a small space there is always a

the same effect as copper foil lining. A small 25ml bottle

danger of a hot signal coming into contact with the ground,

should be fine to provide you with two or three coats. The

causing a short-circuit.

paint is matt black in appearance, it dries relatively quickly,

From the inside of the cavity, make a small cut with the tip of a modeling knife in the middle of each of

the four potentiometer holes. Push through the four pots,

Humbucking pickup cavities can also be lined without

Secure the potentiometers from the front of the body with the washers and nuts. Refit the four control

knobs: turn each bare potentiometer spindle as far as it will

and new coats can be applied within a couple of hours.

having to remove them with a soldering iron. To gain access,

Before you begin, make sure that you are working in a well-

remove the four corner-screws in each of the pickup rings and

ventilated space as this paint can produce some strong fumes.

lift out of the cavity. (Don’t touch the single screw on either side of the pickup as this simply adjusts its height.) Foil-lining the pickup cavities of a Les Paul with P-90s fitted is a little more tricky since the pickups already fit snugly into their cavities.

1

With the knobs and pots removed, use some thick sandpaper to roughen the surface of the cavity walls and

floor. If you don’t do this, the paint will not “take” and will bubble up.

2

Pour the bottle of paint into a small bowl and stir it thoroughly until it has a smooth consistency. Carefully

apply to the paint to the cavity with a small brush.

3

You will probably need to apply three coats to achieve maximum coverage. You should be able to apply

additional coats within an hour or so. (Follow the manufacturer’s instructions on this matter.)

TESTING THE GROUND Whether the shielding works for your Les Paul will depend to a large extent on the environment in which you play, so it’s really a matter of suck-it-and-see. You can, however, use a multimeter to test whether your shielding is consistent, or

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NON-INVASIVE SOLUTIONS If you don’t fancy pulling your Les Paul apart there are several other noise-reduction steps you can consider. Begin with your playing environment. Many of us have homes that contain large amounts of electronic gear stacked up in an enclosed space and surrounded by potential interference from power supplies and gridpowered cabling. One of the most common sources of electrical interference is a computer or laptop screen. Les Pauls with humbuckers usually deal with these better than single-coil guitars, which can be so sensitive in such spaces that merely tilting the angle of your guitar by only a few degrees may prove to be the difference between loud hum and near silence. Good knowledge of the impact of offending items in your locality can help you minimize impact. Lighting can also prove to be a problem, especially fluorescent light fittings and—worst of all—solid-state

Electro-Harmonix Hum Debugger noise suppressor

dimmer switches, which generate high-frequency harmonics: you really need to get these out of your playing environment! For a simple approach to hum reduction, you can always just fit a noise gate or hum eliminator pedal between your Les Paul and the amplifier, cutting out the entire audio signal until it reaches a preset volume threshold, for example, when you play a chord or pick a note. It does nothing to prevent interference, but at least when you’re on stage your audience won’t be assailed by a wall of hum and buzz between songs.

Evil has a name: the household dimmer switch!

whether it is accidentally making contact with a hot wire. Set the multimeter to resistance (W) and at the highest range setting. With the probes held apart the reading should be “1”/“infinite”—when the probes touch together the reading changes to “0.” Whenever you touch two different grounded points you should get a reading of “0.”

Bridge Grounding Place one probe anywhere on the bridge, tailpiece, or string, and the other on the potentiometer casing of the neck volume control. If you fail to get a zero reading, then the connecting ground wire is broken. This needs to be soldered in place to the treble-side bridge post.

Shielding Place both probes on different areas of the shielding within the cavity. If you fail to get a zero reading,

Potentiometer casings One at a time, place one probe on

then look for gaps in the cavity wall or floor and fill them

the potentiometer casing and the other on the cavity

either with copper foil or solder.

shielding.

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L L

A a e N g p p m w

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LES PAUL LEGENDS Almost every major guitarist has at some stage in their career played a Gibson Les Paul. Here is a selection of thirty outstanding musicians, each one of whom forged a special relationship with the instrument. Not all of them, of course, played Les Pauls to the exclusion of all other guitars; Eric Clapton and Jeff Beck—to give but two examples—are perhaps more closely associated with Fender Stratocasters. Each of the profiles feature a brief biography, details of specific guitars (including modifications), amplification, and effects, as well as listed albums on which a Gibson Les Paul was played.

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CHAPTER 5 | LES PAUL LEGENDS

JAN AKKERMAN Born in Amsterdam and active with professional rock ’n’ roll bands from the age of thirteen, Jan Akkerman first found moderate success during the 1960s with Brainbox, a popular Dutch blues band. Focus formed in 1969 when Akkerman met the conservatory-trained flautist and keyboard player Thijs van Leer playing in the pit band of the Dutch production of Hair.

NAME Jan Akkerman

The Focus sound hinged on the virtuoso abilities of the two

BORN December 24, 1946, Amsterdam, Netherlands

musicians, both skilled soloists with an ear for creating an

LES PAULS 1972 Custom; 1969–74 Personal

attractive melody. These attributes can be heard on the band’s

BANDS Focus; Brainbox; Jan Akkerman

two worldwide hit records, Van Leer’s “Sylvia,” surely one of

RECORDINGS Moving Waves (originally issued as

the most beautiful guitar instrumentals in the rock oeuvre,

Focus II) (Focus, 1971); Focus 3 (Focus, 1972)

and their joint composition “Hocus Pocus.” (Those unaware of Focus should track down the six-minute video clip of the

I like the one [the Gibson humbucker] near the tailpiece,

band performing both pieces on the British television show

that’s a very good pickup . . . you get the clarity, and that

The Old Grey Whistle Test in 1972, in which “Hocus Pocus”

special tone from the Gretsch pickup.”

is played at a breakneck tempo with Akkerman tossing out

Akkerman used both Fender and Marshall amplifiers,

effortless solos of remarkable dexterity. It’s been said that

sometimes in the same rig, but for recording, his Les Paul

during the week after the clip was first broadcast, the band’s

went into a Fender Twin Reverb. The only pedal he used at

label had to operate their pressing plants around the clock to

this time was a Colorsound Power Boost/Overdriver, which

keep up with demand for Focus records.)

he claimed “could get a single-coil pickup sound.”

During this period, Akkerman used a 1972 Les Paul

Akkerman left Focus in 1976 but has remained hugely

Custom “Black Beauty” model. Like many guitarists of the

productive, touring globally and recording more than thirty

period, he was happy to perform his own modifications, most

solo albums. He has since played a Gibson Les Paul Personal,

notably ripping out the neck pickup and replacing it with a

which he had re-topped with a tiger-stripe cap, and both

Gretsch Filter’Tron. He later realized that he’d “kind of

pickups and low-impedence electrics were replaced with a set

screwed up the wiring, but that gave that special tone to it . . .

of three humbuckers.

DUANE ALLMAN When the critics of Rolling Stone magazine were polled for their one hundred greatest guitar players of all time in 2003, Jimi Hendrix was the only musician positioned ahead of Duane Allman in the published list. And like Hendrix, Allman’s professional career was also painfully short, the guitarist perishing in a motorcycle accident at the tragically NAME Howard Duane Allman

tender age of twenty-four.

BORN November 20, 1946, Nashville, TN, USA

Hailing from Nashville, Tennessee, Duane Allman was first

LES PAULS 1957 Goldtop; 1959 Standard (cherry

noticed in the band Hour Glass. Although commercially

sunburst); 1959 Standard (tobacco sunburst model

unsuccessful, his guitar skills enabled him access to the

known as “Hotlanta”)

lucrative session scene; working out of FAME Studios in

BANDS Hour Glass; Allman Brothers Band

Muscle Shoals, Alabama, he played on albums by the likes of

RECORDINGS Layla and Assorted Other Love Songs

Wilson Pickett, Aretha Franklin, King Curtis, and Otis Rush.

(Derek and the Dominos, 1970); At Fillmore East (Allman Brothers Band, 1971)

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During this time he developed the slide technique that would form such an important part of his sound. According

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JAN AKKERMAN | DUANE ALLMAN

to his younger brother, Gregg Allman, he had picked up a

Many would still rate Allman as the finest Les Paul player

glass pill bottle while recovering from an elbow injury and

of them all. He originally played a 1957 Goldtop, which was

began using it on his guitar: “Duane had never played slide

used on the first two albums and the “Layla” sessions. He

before,” he would later recall, “he just picked it up and

part-exchanged it in 1970 for the 1959 cherry sunburst

started burnin’.”

Standard he used on At Fillmore East. His third Les Paul was

In 1969 he formed the six-piece Allman Brothers Band,

a 1959 tobacco burst Standard known as “Hotlanta.” For

which included brother Gregg and second guitarist Dickey

amplification he favored a Marshall Bass 50 head with a pair

Betts, and quickly established a relentless touring schedule.

of Marshall 4x12 cabinets loaded with JNL-D120 speakers,

Although the band’s first two studio albums sold poorly,

although used a Fender Champ on the Layla . . . sessions.

their onstage reputation flourished and they were soon

In spite of Allman’s death, the band continued, achieving

regarded as one of America’s premium live rock bands.

even greater commercial success—peaking in 1973 with the

A selection of live recordings made over three shows in

chart-topping album Brothers and Sisters, which sold more

New York formed the double album At Fillmore East. It

than seven million copies worldwide. Dickey Betts was by

proved to be the Allmans’ commercial breakthrough and is

this time effectively in creative control of the band. A brilliant

still regarded as a benchmark for all live rock albums.

Les Paul player in his own right, Duane Allman had once

A close friend of Eric Clapton, Allman also played on

remarked to a journalist: “I'm the famous one but he’s the

sessions that would emerge as Layla and Assorted Other

good one!” Indeed, it was Betts who composed the band’s

Love Songs, credited to Derek and the Dominos. It was

biggest hit single, the country-flavored “Ramblin’ Man,” as

Allman who came up with the title track’s signature riff,

well as “Jessica,” one of the most celebrated guitar

one of the most iconic in rock history.

instrumentals of the period.

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CHAPTER 5 | LES PAUL LEGENDS

JEFF BECK One of the most versatile, tasteful, and accomplished guitarists to grace the world of rock music, Jeff Beck has generally received greater plaudits from other musicians than the general public. Yet in a career that began as Eric Clapton’s 1965 replacement in the Yardbirds, he has followed a path that would consistently place personal interest above mass appeal, whether it be the heavy rock of Beck, Bogart and

NAME Geoffrey Arnold “Jeff” Beck

Appice, his acclaimed 1970s jazz-fusion albums, or his

BORN June 24, 1944, Wallington, London, UK

1950s-style rockabilly tributes. Beck is more widely

LES PAULS 1954 Custom (oxblood); 1959 and

associated with the Fender Stratocaster, which has been his

1959/1960 Standard (all guitars modified)

main instrument since around 1970, but during the previous

BANDS The Yardbirds; Jeff Beck Group; Beck,

four years he barely used anything other than Gibson Les

Bogart and Appice; Jeff Beck

Pauls, which featured on many key recordings.

RECORDINGS Over Under Sideways Down (released

As strange as it may seem, when he first joined the

in the UK as Yardbirds but generally referred to as

Yardbirds, Beck didn’t have a guitar of his own, and so

“Roger the Engineer” (The Yardbirds, 1966); Truth

borrowed the band’s spare Telecaster before acquiring a

(Jeff Beck Group, 1968)

Fender Esquire. He picked up his first Les Paul in 1966 and immediately began using it on the famous “Roger the

Beck is an enormously significant player both in his lyrical

Engineer” sessions; according to different sources this was

playing style and the sounds he achieves. His recording high

either a 1959 or 1960 Standard. During this time he also

point is perhaps 1968’s Truth, the debut album from the Jeff

gradually made the transition from using linked Vox AC30

Beck Group, which also brought success to singer Rod

amplifiers to a Marshall JTM45 head, which he has used

Stewart for the first time. In addition to the influential classic

extensively ever since. During the 1960s Beck also pioneered

rock instrumental “Beck’s Bolero,” the album is widely

the use of fuzz boxes, such as the Sola Sound Tone Bender

credited as providing a template for the heavy rock genre

and Marshall Supa Fuzz.

shortly to emerge.

MIKE BLOOMFIELD The British blues boom brought to prominence some of the key names of rock history, as the likes of the Rolling Stones, Eric Clapton, Jeff Beck, and Jimmy Page delved into the world of 1950s Chicago electric blues. At the same time, a similar generation of white, middle-class blues enthusiasts emerged in the United States. Born into a wealthy Jewish Chicago family, Mike NAME Michael Bernard Bloomfield

Bloomfield spent much of his youth playing in the famous

BORN July 28, 1943, Chicago, IL, US

blues clubs on the city’s South Side. Admired for his tone,

DIED February 15, 1981, San Francisco, CA, US

sustain, and controlled vibrato, Bloomfield first made his

LES PAULS 1959 Standard; Goldtop (model dates

mark as a young session man on Bob Dylan’s celebrated

from 1952–57)

Highway 61 Revisited before joining the Paul Butterfield

BANDS The Paul Butterfield Blues Band; the Electric

Blues Band. On release, the group’s self-titled debut album

Flag; Mike Bloomfield

established Bloomfield as one of the country’s leading young

RECORDINGS The Trip: Musical Score Composed and

blues players. With its mixture of blues covers and authentic-

Performed by The Electric Flag, An American Music

sounding originals, the album was arguably as influential to

Band (The Electric Flag, 1967); Super Session (Mike

young white American guitarists as the Rolling Stones had

Bloomfield, Al Kooper, Stephen Stills, 1968)

been across the Atlantic.

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JEFF BECK | MIKE BLOOMFIELD | JOE BONAMASSA

165

JOE BONAMASSA Perhaps the most widely admired blues guitarist of his generation—and certainly the most commercially successful— Joe Bonamassa’s career trajectory became evident when in 1989, at the age of twelve, he found himself opening for none other than B. B. King on twenty US tour dates. Bonamassa began playing the guitar at the age of four, not long before he began listening to his father’s extensive

NAME Joe Bonamassa

collection of early British blues-rock albums. This provided

BORN May 8, 1977, New Hartford, NY, US

the youngster with early exposure to such players as Peter

LES PAULS 1955 Custom; two 1959 Standards

Green, Eric Clapton, and Jeff Beck. By the time he reached

(known as “Magellan” and “Principal Skinner”); two

the age of eighteen Bonamassa was not only an impressive

1960 Standards; 2012 Gibson Custom Shop 1959

instrumentalist but also a seasoned performer, gigging heavily

Paul Kossoff Standard

around New York and Pennsylvania during weekends and

BANDS Joe Bonamassa; Black Country Communion

school breaks.

RECORDINGS A New Day Yesterday (Joe Bonamassa,

His 2000 debut album, A New Day Yesterday, was an

2000); Black Rock (Joe Bonamassa, 2000)

immediate success, hitting the Top 10 of the Billboard blues chart—as have all of his subsequent albums. A heavy touring

Bonamassa’s personal favorite is known to be a 1959

schedule ensured that each new release sold in increasingly

Standard which he refers to as “Magellan.” More recently he

large numbers until 2010, when Bonamassa broke through

has been seen using a Gibson Custom Shop replica of the

into the mainstream best-selling album charts across the

1959 Standard used in the 1970s by British guitarist Paul

world with the hugely acclaimed Black Rock.

Kossoff. He generally plays through vintage Marshall

Despite his relative youth, Bonamassa has already accrued a mighty collection of guitars—at its peak more than three hundred—including six “golden-era” Les Pauls which he

amplification and uses his own Dunlop signature Fuzz Face stomp box. Unusually, Bonamassa favors a relatively high action on his instruments and uses .011 to .052 string gauges.

continues to use in concert. Although Bloomfield had used a Fender Telecaster on the first Butterfield album, he traded it for a Les Paul Goldtop, which he then part-exchanged for a 1959 Standard. He used this guitar on pretty well all of his notable recordings until the middle of the 1970s, usually played through a Fender Super Reverb amplifier. In 2009, Gibson produced a “process-aged” recreation of Bloomfield’s Standard, including mismatched control knobs and missing switch cover. Since the original guitar was “lost”—purportedly left at a club in Vancouver in 1974—hundreds of photographs were used in the creation of the replica. Mike Bloomfield, along with Eric Clapton, is widely credited with having rehabilitated the Les Paul, making Standards from the late-1950s the most sought after of guitars for any fledgling blues player. This eventually resulted in the guitar’s reintroduction in 1968. By the end of 1970s, beset by addiction problems, Bloomfield’s career had stalled, and in February 1981, in unexplained circumstances, he was found dead from a drug overdose in a car in San Francisco.

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CHAPTER 5 | LES PAUL LEGENDS

ERIC CLAPTON Whatever musical phases Eric Clapton might have passed through, he remains at heart a blues purist. He emerged on the English beat scene in 1963 with the Yardbirds, where he earned the lifelong nickname “Slowhand.” When the band opted for a more pop-oriented sound, Clapton jumped ship, playing briefly with John Mayall’s Bluesbreakers, with whom he recorded the benchmark “Beano” album, quickly gaining a global reputation as an outstanding young blues player. Eric Clapton peaked commercially with his next project, the supergroup power trio, Cream. Debuting in 1966, with a heavy unison riffing hybrid of blues rock and psychedelia, the group arguably single-handedly ushered in the hard rock era. Without question one of the most important electric guitarists of all time, from 1965 to 1969 Clapton played Gibson guitars exclusively, beginning with a 1960 Les Paul Standard, which he used with John Mayall and on the first

NAME Eric Patrick Clapton BORN March 30, 1945, Ripley, UK LES PAULS 1960 Standard; 1957 Goldtop (known as “Lucy”) BANDS The Yardbirds; John Mayall’s Bluesbreakers; Cream; Blind Faith; Derek and the Dominos RECORDINGS Bluesbreakers (known as the “Beano” album) (John Mayall with Eric Clapton, 1966); Fresh Cream (Cream, 1966)

Cream album. It was Clapton more than anyone else who established the Les Paul/Marshall JTM45 combination for his

In 1969, influenced by Jimi Hendrix and Steve Winwood,

generation of blues players. During his time with Cream, he

Clapton began playing Fender Stratocasters. He has since

switched to playing his famed psychedelic “Fool” Gibson SG.

largely remained faithful to the model.

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ERIC CLAPTON | DAVE DAVIES | AL DI MEOLA

167

DAVE DAVIES It has been argued that the opening riff of the Kinks’ 1964 hit “You Really Got Me” heralded the birth of the power chord. The sound, played by Dave Davies on a 1962 Harmony Meteor, was one of the first uses of distortion in pop music— in this instance, the effect created by slicing the speaker of his Elpico amplifier with a razor blade and slaving the output NAME David Russell Gordon Davies

into a Vox AC30. The Kinks enjoyed a run of classic hit records during the

BORN February 3, 1947, Fortis Green, London, UK

1960s, on which Davies was widely seen on television playing

LES PAULS 1960 Goldtop; 1978 Artisan

a Gibson Flying V, but generally used Epiphone or Fender

BANDS The Kinks; Dave Davies

guitars in the studio. It was not until the following decade

RECORDINGS Sleepwalker (The Kinks, 1977); Give

that the band achieved major success in the United States, by

The People What They Want (The Kinks, 1981)

which time Davies had switched to recording with Gibsons. His 1960 Les Paul Goldtop (which was retrofitted with

inlays. Now a relative rarity, this version of the Artisan

single-coil P-90 pickups) cost him four hundred dollars and

was only in production from 1977–79, and would be

was bought in the mid-1970s while touring the United States.

Davies’ main guitar over the decade that followed, both on

It can be heard on 1977’s Sleepwalker, the first album from

stage and in the studio.

what has become known as the Kinks’ “arena rock” phase. A year later, Davies acquired a brand new Gibson Les Paul

In 2004, Davies suffered a stroke, forcing him to spend the following two years relearning to walk, talk, and play

Artisan, a plush new variation with three pickups, an ebony

the guitar. Against the odds, he has since been able to

fingerboard, gold hardware, and unusually ornate floral

resume his recording and performing career.

AL DI MEOLA

teenage guitar prodigy Al Di Meola. The Return To

It was trumpeter Miles Davis who most heavily influenced the

player Stanley Clarke took a classic heavy rock approach

development of jazz fusion as a musical entity towards the

to their jazz rock, with unison riffing of lines of enormous

end of the 1960s, many of his young alumni going on to

complexity and dizzying tempo accompanying Corea’s

dominate the genre during the decade that followed.

harmonically rich compositions. It was certainly the first

Formed in 1972 by Davis’ former keyboard player, Chick Corea, Return To Forever provided an introduction for

Forever sound was radical for its time. Di Meola and bass

time that a Les Paul, overdriven through a Marshall stack, had been heard in the world of jazz. During his time with Corea, Di Meola played a 1969 Deluxe, one of Gibson’s new “second-generation” Les Pauls. Di Meola made a common modification by removing the unpopular New York mini-humbuckers and replacing them with his preferred DiMarzio Super Distortion units. Soon after, Di Meola would acquire a 1959 Standard, again, with a DiMarzio conversion. Although nominally a jazz musician, Di Meola can be viewed as a pioneer of shred guitar and a huge influence

NAME Al Laurence Dimeola

on high-speed rock players such as Yngwie Malmsteen,

BORN July 22, 1954, Jersey City, NJ, US

Richie Sambora, and John Petrucci. He has claimed in

LES PAULS 1959 Standard; 1969 Deluxe

interviews that anyone can play as fast as he can if they are

BANDS Return To Forever; Al Di Meola

prepared to put in the practice—although he qualifies this

RECORDINGS No Mystery (Return To Forever, 1975);

by declaring that while a student at the Berklee School of

Casino (Al Di Meola, 1978)

Music he would play for at least eight hours each day!

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CHAPTER 5 | LES PAUL LEGENDS

PETER FRAMPTON “The Face of 1968,” according to British teen magazine Rave, Peter Frampton was only sixteen years old when he fronted “flower power” pop group the Herd. Shifting his focus towards the guitar, he joined Steve Marriott of the Small Faces in the band Humble Pie, enjoying considerable transatlantic success. From 1971 Frampton concentrated on breaking the United States, initially struggling to establish a

NAME Peter Kenneth Frampton

viable solo career. It took three unsuccessful albums and four

BORN April 22, 1950, Bromley, London, UK

years playing the college circuit before 1975’s Frampton

LES PAULS 1954 Custom; Gibson Peter Frampton

nudged the Billboard Top 30. Many of the songs on this

Les Paul signature model

album would appear a year later on Frampton Comes Alive!,

BANDS The Herd; Humble Pie; Frampton's Camel;

a concert recording which surprised many by becoming the

Peter Frampton

biggest selling album of 1976; indeed, it would remain on the

RECORDINGS Rock On (Humble Pie, 1971); Frampton

chart for ninety-seven weeks and was still among the top

Comes Alive! (Peter Frampton, 1976)

twenty hit albums of 1977. Frampton is specifically associated with a 1954 Les Paul

all of his hit recordings throughout the decade. In 1980 the

Custom “Black Beauty” that had been refinished and

guitar was lost when a cargo plane crashed and burned while

“modernized” with three humbuckers—for many years, in

taking off from Caracas airport in Venezuela. For three

fact, it was assumed to be a 1960 model. Frampton was also

decades, however, nobody realized that the Les Paul had in

an avid user of the Heil Talk Box, an effect that enabled the

fact been plucked from the burning wreckage and sold to a

sound of his guitar to be manipulated through a plastic tube

bar musician on the Caribbean island of Curaçao, who had

by movements of his mouth, which was heard most famously

used it ever since, unaware of its heritage. The guitar was

on the hit single “Show Me the Way.” Frampton received his

returned to a jubilant Frampton in January 2012, and a

Les Paul as a gift from a fan at a Humble Pie show in 1970,

month later he was able to use it in concert for the first time

and it immediately became his main instrument, featuring on

in more than thirty years.

ACE FREHLEY Kiss was America’s belated entry into the pantheon of glam rock. Ace Frehley was the original lead guitarist; he also came up with the band’s iconic double-lightning-bolt logo. When Kiss formed in 1973, it was decided that for a unique selling point each member would assume a comic-style identity and appearance—Frehley painted silver stars around NAME Paul Daniel “Ace” Frehley, also known as “Space Ace“ and “Spaceman” BORN April 27, 1951, The Bronx, New York, US LES PAULS Custom; Ace Frehley Les Paul Custom signature models (produced both by Gibson and Epiphone); “Budokan” Custom Ace Frehley signature model

established themselves with their live spectacles, Frehley taking center stage during his solos, with fireworks fitted to the headstock of his Les Paul Custom and smoke bombs in the pot cavity. With a frenetic, untutored style, Frehley would influence many young guitarists who emerged during the New Wave era. Gibson would celebrate Frehley’s long-standing

BANDS Kiss; Frehley's Comet RECORDINGS Alive! (Kiss, 1975); Destroyer (Kiss, 1976)

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his eyes and became known as “Spaceman.” Kiss quickly

patronage of the Les Paul with an array of signature models, among them the “Budokan” Custom, fitted with three DiMarzio humbuckers.

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PETER FRAMPTON | ACE FREHLEY | ROBERT FRIPP

ROBERT FRIPP

heavy jazz and classical influence. In retrospect, The Cheerful

The end of the 1960s saw the gradual emergence of a new

Insanity of Giles, Giles and Fripp seems well in advance of

breed of rock musician. These were players who had usually

what was going on at that time, and a genuine urge to push

received some type of formal training and were as likely to

the boundaries of rock music became increasingly clear when

draw influence from J. S. Bach or John Coltrane as Chicago

they morphed into King Crimson.

blues musicians. This was an era when rock music got serious. And none were more serious than Robert Fripp. His 1968 debut was as part of the band Giles, Giles and Fripp, a trio that mixed English psychedelic whimsy with a

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Making an extraordinary live debut in July 1969 supporting the Rolling Stones at London’s Hyde Park in front of an audience of almost a half a million, the band’s debut album, The Court of the Crimson King, was a huge commercial success that effectively ushered in the progressive rock era. At the heart of the band’s sound was the Mellotron—an early type of sampling keyboard that used mechanical tape loops to create orchestral effects—and Fripp’s nimble Les Paul playing. His style combined effortlessly fluid movement across the fingerboard with a demanding alternate and cross picking technique. By the middle of the 1970s Fripp had taken King Crimson into increasingly obscure areas, eventually leading to the collapse of the band. During this time he began working with

NAME Robert Fripp BORN May 16, 1946, Wimborne Minster, UK LES PAULS 1957 Custom; 1959 Custom BANDS Giles, Giles and Fripp; King Crimson; Fripp & Eno; League of Gentlemen RECORDINGS The Court of the Crimson King (King Crimson, 1969); No Pussyfooting (Fripp & Eno, 1973)

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Brian Eno creating influential abstract delay loop soundscapes using a pair of linked Revox tape recorders. He called this “Frippertronics.” In addition to periodically reforming King Crimson, Fripp also developed Guitar Craft, a kind of personal-development course for guitarists which taught his preferred system of New Standard Tuning, where the guitar is tuned (from bottom to top) C-G-D-A-E-G.

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PETER GREEN Peter Green had been one of John Mayall’s discoveries, earning his stripes in the ranks of the Bluesbreakers before stepping out with his own band, Fleetwood Mac. Green’s playing is noted for its pure tone, vibrato, and sustain notes using controlled feedback. Green played a 1959 Standard, its unique tone resulting from the neck pickup having been installed out of phase with the magnets in reverse. After global success with Fleetwood Mac, in 1970 Green

NAME Peter Allen Greenbaum

left the band and would lose much of the decade that

BORN October 29, 1946, Bethnal Green, London, UK

followed in treatment for debilitating schizophrenia. He

LES PAULS 1959 Standards; 1950s Goldtop

emerged again in the 1980s and has since toured and

BANDS John Mayall’s Bluesbreakers; Fleetwood

recorded extensively. The remaining members of Fleetwood

Mac; Peter Green Splinter Group

Mac, meanwhile, decamped to the United States where they recruited new members, radically changed their sound, and became one the biggest-selling bands of all time.

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RECORDINGS A Hard Road (John Mayall’s Bluesbreakers, 1967); Fleetwood Mac (Fleetwood Mac, 1968)

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PETER GREEN | TERRY KATH | FREDDIE KING

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TERRY KATH After ending a show at the Los Angeles Whisky a Go Go in 1968, a stranger tapped on the shoulder of Chicago Transit Authority’s saxophone player Walter Parazaider: “I’m Jimi Hendrix. I’ve been watching you guys and I think your guitarist is better than me!” The name of the guitarist in question was Terry Kath. Having adopted (without permission) the name of their home city’s transport system, threats of legal action resulted in the band being renamed; as Chicago, they would go on to become one of America’s most popular groups of the 1970s. In retrospect, this was a rather curious band. With a mighty brass section at hand, Chicago could shift effortlessly from bland easy-listening pop through hard-edged rock and jazz-fusion to baroque classical—all within a single album. Extraordinarily prolific, most of the early recordings

NAME Terry Alan Kath BORN January 31, 1946, Chicago, IL, US DIED January 23, 1978, Woodland Hills, CA, US LES PAULS 1969 Professional BANDS Chicago Transit Authority; Chicago RECORDINGS Chicago Transit Authority (Chicago, 1970); Chicago (widely known as “Chicago II”) (Chicago, 1976)

appeared on double or triple LP sets. For much of his career, Terry Kath played a Gibson SG or Fender Telecaster, but in the early days of the band he switched for a while to the rare (and relatively unloved)

conventional guitar amplifier required a special transformer cord. Kath’s choice of amplifier was equally unorthodox—

Gibson Les Paul Professional. Less than a thousand of these

although perhaps logical to take advantage of the guitar’s

low-impedence guitars were made between 1969 and 1971.

advanced features; instead of a standard valve amplifier, he

Intended to provide a higher quality signal in the studio,

went for a solid-state Acoustic 150 head, hooked up to a

where it could be plugged directly into a mixing console,

speaker cabinet containing six ten-inch cones.

Kath was deeply impressed by the Professional’s clean, quiet

By all accounts, Kath found the trappings and pressures

sound. It was not, however, a straightforward piece of kit; the

of being in a famous rock band troublesome and began to

onboard electrics featured a wide variety of filter and phase

struggle with drug issues. On January 23, 1978, he died

switching options, and to use the Professional with a

following an accident with a loaded handgun.

FREDDIE KING One of the “Three Kings” of electric blues guitar (along with B. B. and Albert), Freddie King was arguably the most progressive of this venerated trio. His raw, aggressive style took the Chicago template and infused with it the open-string sound associated with the blues of his native Texas. It was his right-hand technique that produced such an unusual sound, combining a plastic thumb pick with a metal NAME Fred King (known as “Freddie” or ”Freddy”) BORN September 3, 1934, Gilmer, TX, US

slip-on index-finger pick to create a powerful attack. King used a mid-1950s Les Paul Goldtop with P-90

DIED December 28, 1976, Dallas, TX, US

pickups on all of his classic early recordings and played

LES PAULS 1950s Goldtop

through a Gibson GA-40 combo—the amplifier that had

BANDS Freddy King

originally been marketed to partner the Les Paul.

RECORDINGS Freddy King Sings (Freddy King,

Freddie King maintained a brutal touring schedule, playing

1961); Let's Hide Away and Dance Away (Freddy

around three hundred shows in a typical year, which is

King, 1961)

thought to have contributed to his early death.

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PAUL KOSSOFF Four decades after his death, Paul Kossoff is still fondly remembered by modern-day music critics. “All Right Now,” the signature track by his band, Free, topped the charts in over twenty countries on its release in 1970 and is now regarded across generations as a premium slab of classic rock. And into the twenty-first century, Rolling Stone magazine named him in their list of the one hundred greatest guitarists of all time.

NAME Paul Francis Kossoff

Kossoff took many of his early cues from Eric Clapton.

BORN September 14, 1950, Hampstead, London, UK

After an abortive classical education, as a fifteen-year-old he

DIED March 19, 1976, flight from Los Angeles, CA to

had seen Clapton playing with John Mayall in 1965 and was

New York City, NY, US

immediately smitten with what would soon become the

LES PAULS 1954 Custom; a pair of 1959 Standards

classic Les Paul/Marshall combination. He bought a Les Paul

BANDS Black Cat Bones; Free; Back Street Crawler;

a year later when he joined his first band, Black Cat Bones—a

Kossoff, Kirke, Testu and Rabbit

1954 Custom with single-coil P-90 pickups.

RECORDINGS Fire and Water (Free, 1970); Free Live

In 1968 Kossoff not only formed Free but acquired his

(Free, 1971)

now legendary 1959 Standard. After the band’s first two albums were largely ignored, Free hit pay dirt in 1970 with Fire and Water and a triumphant appearance at the 1970 Isle

He died from heart failure in 1976 at the age of twenty-five. Kossoff was admired for his sparse style, controlled

of Wight Festival in front of a crowd of more than six

vibrato, and tone. He used no effects, just his Les Paul

hundred thousand.

plugged straight into a Marshall Super Lead, an amplifier that

Unable to maintain their momentum, Free broke up a year

had only a single volume control, so there was no

later, destabilized by a combination of internal rows and

preamplifier to overdrive. He used .011 gauge strings with a

Kossoff’s growing dependency on heroin and alcohol. Singer

high action that would trouble many modern players.

Paul Rodgers and drummer Simon Kirke went on to form

Kossoff was a master of economy, expression trumping

Bad Company and achieved collosal commercial success in

speed every time. His left-hand techniques were also unusual

the United States. Kossoff formed the heavily hyped Back

and tricky to replicate. As he told one interviewer: “I trill with

Street Crawler, but continually plagued by drug-related ill

my first, middle and ring fingers and bend chiefly with my

health, the two albums they produced were a disappointment.

small finger. I’ll use my index finger when I’m using vibrato.”

TAK MATSUMOTO One half of the rock band B’z (pronounced “beez”), Tak Matsumoto is the most highly regarded guitarist to emerge from Asia. Although they have no more than a small following in the United States, career sales of over eighty million in Japan since 1988 (including forty-six consecutive chart-topping singles!) make B’z one of the biggest-selling NAME Takahiro Matsumoto

bands in the world. Which is all rather strange when, to most

BORN March 27, 1963, Osaka, Japan

Western ears, Matsumoto and vocalist Koshi Inaba seem to

LES PAULS 1955 Goldtop; 1959 Standard; Gibson and

be a pair of retro-sounding blues-rockers.

Epiphone Tak Matsumoto signature models

Such is the regard in which Matsumoto, a prominent

(including doublecut Custom)

modern-day Les Paul player, is held, that Gibson has honored

BANDS B’z; Tak Matsumoto Group

him with no less than seven signature models. In 2010 he

RECORDINGS Monster (B’z, 2006); Take Your Pick

recorded the Grammy-winning instrumental album Take Your

(Larry Carlton & Tak Matsumoto, 2010)

Pick with guitar legend Larry Carlton.

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PAUL KOSSOFF | TAK MATSUMOTO | JOHN McLAUGHLIN | GARY MOORE

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JOHN McLAUGHLIN Hailing from a family of musicians, John McLaughlin received formal classical training in piano and violin before taking up the guitar at the age of eleven. By the time he moved to London as a session musician in his late teens, he was already an adept jazz, blues, and flamenco player. After making his solo debut with Extrapolations, a straight post-bop jazz recording, he moved to New York City

NAME Mahavishnu John McLaughlin

where he joined pioneering fusion band, the Tony Williams

BORN January 4, 1942, Doncaster, UK

Lifetime. This brought him to the attention of Miles Davis,

LES PAULS Custom (one 1950s, one 1958 Custom

for whom he made critical contributions to the landmark

Reissue with fitted Bigsby vibrato and P-90 pickups)

electronic jazz albums, In a Silent Way and Bitches Brew.

BANDS The Tony Williams Lifetime; the Mahavishnu

In 1971, McLaughlin founded the Mahavishnu Orchestra.

Orchestra; Carlos Santana and John McLaughlin;

Mixing jazz, rock, and funk with high-speed exotic scales,

Shakti with John McLaughlin

rhythms, and time signatures gleaned from McLaughlin’s

RECORDINGS Emergency! (The Tony WIlliams

growing interest in Indian classical music, the group would be

Lifetime, 1969); The Inner Mounting Flame (The

an important influence in the field of jazz-fusion, as well as

Mahavishnu Orchestra with John McLaughlin, 1971)

early exponents of what might now be termed “world fusion.” Famously, one of the very few prominent musicians—

Much admired by his peers, Frank Zappa commented

along with Led Zeppelin’s Jimmy Page—to take to the

on the sheer speed of his playing: “A person would be a

double-neck guitar, during the early Mahavishnu period

moron not to appreciate McLaughlin’s technique. The guy

McLaughlin played a 1950s Les Paul Custom through a pair

has certainly found out how to operate a guitar as if it

of 100-watt Marshall Plexi heads with 4x12 cabinets.

were a machine gun.”

GARY MOORE

from the music business during the 1970s he loaned Moore

One of the finest electric blues players of his generation,

was eventually able to buy from him. In 1995, he recorded

during a varied thirty-five-year career, Gary Moore recorded

Blues for Greeny, a tribute album to his teenage hero.

his much-coveted 1959 Les Paul Standard—which Moore

over fifty albums, either as a solo artist or as part of such noteworthy groups as Thin Lizzy and Colosseum II. Gary Moore first came into public view in the short-lived Dublin power trio Skid Row. Following outstanding live write-ups, the band’s 1970 debut, Skid, scratched the UK Top 30, introducing Moore as an exciting new talent. It was his two stints in Thin Lizzy that brought him wider recognition, as he geared his playing towards a heavier rock sound. Yet his versatility as a player made him equally at home with the technically demanding jazz-fusion of Colosseum II. From 1990 until his death in 2011, however, Moore returned to his

NAME Robert WIlliam Gary Moore

first love, becoming one of the most commercially successful

BORN April 4, 1952, Belfast, Northern Ireland, UK

blues players of the period, taking songs such as “Still Got the

DIED February 6, 2011, Estepona, Spain

Blues for You” into the pop charts.

LES PAULS Pair of 1959 Customs

Nominally a classic electric blues player, Moore was happy

BANDS Skid Row; Gary Moore Band; Thin Lizzy;

to admit that his biggest influence was Peter Green of the

Colosseum II; G-Force; Bruce-Baker-Moore

original Fleetwood Mac, who acted as something of a mentor

RECORDINGS Savage (Colosseum II, 2000); Still Got

when Moore was starting out. When Green stepped back

the Blues (Gary Moore, 2000)

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CHAPTER 5 | LES PAUL LEGENDS

JIMMY PAGE At the age of thirteen, James Page made his first television appearance on the UK talent show All Your Own. Asked by presenter Huw Wheldon what he planned to do when he left school, the well-spoken teenager declared his intention to become a biological researcher. But Page soon succumbed to the musical bug and by the middle of the 1960s he had become one of London’s most sought-after session musicians, making uncredited appearances on tracks by the Rolling Stones, the Who, the Kinks, and Herman’s Hermits. In 2010 he recalled, “I was doing three sessions a day, fifteen sessions a week. Sometimes I was playing with a group, sometimes I could be doing film music.” When Eric Clapton left the Yardbirds in 1964, the band turned to Jimmy Page as a possible replacement. At this time, the guitarist was then making such a lucrative living as a hired hand that he turned down the offer. Page eventually would join the Yardbirds at the end of

NAME James Patrick Page BORN January 9, 1944, Heston, UK LES PAULS 1959 Standard, (“Number One”); 1959 Standard ("Number Two"); 1960 Custom; 1969/70 Custom (“Number Three”); Goldtop Classic Premium Plus; Jimmy Page Signature Les Paul (produced 1995-1998); Jimmy Page Custom Authentic Les Paul (Gibson Custom Shop, produced 2004-2007) BANDS Led Zeppelin; the Yardbirds; the Firm RECORDINGS Led Zeppelin II (Led Zeppelin, 1970); Houses of the Holy (Led Zeppelin, 1971)

1966, by which time the group was in commercial decline. Disintegrating on the eve of a Scandinavian tour, Page offered

drummer John Bonham, singer Robert Plant, and top session

to put together a group to fulfill the dates. Along with

bassist John Paul Jones, the New Yardbirds were born. On returning to the UK, the group changed its name—from an earlier suggestion by the Who’s Keith Moon—to Led Zeppelin. It would swiftly become the most commercially successful heavy rock group of the era. In the studio, Page enjoyed total control over the band’s sound—it’s testimony to his skills as a producer that, in terms of clarity and sheer power alone, these recordings rate among the finest in rock music history. From the 1969 debut to the death of drummer John Bonham in 1980, Led Zeppelin issued a string of peerless classics, most of which topped the album charts across the globe. Of these masterpieces, Led Zeppelin II is regarded by many critics as the greatest rock album ever made. Page played a number of different instruments during his time with Led Zeppelin, but largely worked with Les Pauls— indeed, his three favorites are simply known as numbers one to three. The most noteworthy is “Number One,” a rare 1959 Gibson Les Paul Standard sunburst that he bought from Joe Walsh for five hundred dollars. It can be heard on such classics as “Whole Lotta Love,” “Rock and Roll,” and “Black Dog,” and has been modified numerous times over the past four decades, with a variety of different pickups and switching configurations employed. According to London auctioneer Cooper Owen, this guitar could expect to fetch more than one million dollars—in the unlikely event that Page should ever want to sell his favorite instrument.

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JIMMY PAGE | LES PAUL | JOE PERRY

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LES PAUL Lester William Polsfuss, to give Les Paul his birth name, is remembered mainly for his role in the development of the electric guitar. He was, after all, the man who could lay a reasonable claim to have built the first solidbody electric model, a 4x4-inch chunk of solid pine with a Gibson neck and the wings of an Epiphone acoustic fitted to give the look and feel of a conventional guitar. It became known as the

NAME Lester William Polsfuss, known as Red

“Log.” Of course, he later also gave his name to Gibson’s first

Hot Red, Rhubarb Red, and Les Paul

solidbody electric guitar, which remains one of the most

BORN June 9, 1915, Waukesha, WN, US

iconic musical instruments of the twentieth century—even if

DIED August 12, 2009, White Plains, NY, US

Paul’s specific role in its design may have been somewhat

LES PAULS 1969 Recording

exaggerated over time. He would play a more pronounced

BANDS Les Paul and Mary Ford

role in the renaissance of the Les Paul, especially in the

RECORDINGS Chester and Lester (Chet Atkins

development of his “everything guitar,” the Les Paul

and Les Paul, 1972); Capitol Masters (Les Paul

Recording Model in the early 1970s.

and Mary Ford, 1992)

Paul had, in fact, been America’s first celebrity guitar player. From 1950 he enjoyed a string of chart hits with his

Audiences in the early 1950s had been stunned by Les

wife, Mary Ford, many of which featured his home-built

Paul’s studio magic, his multiple guitar “orchestra,” and

electric guitar and were captured on a multitrack recording

Mary Ford’s rich vocal harmonies, produced in their studio

device that he had designed and built himself—several

on her own. So popular were the duo that during the 1950s

decades before this became standard practice. With a fifty-

they had their own syndicated radio and television shows.

thousand-dollar investment from his friend Bing Crosby, then

Although a highly accomplished jazz player in the mold of

one of the most popular entertainers in the world, the Ampex

Django Reinhardt, his abilities were sometimes masked by the

recording company hired Paul to help in the development of

lightweight nature of his big hits and the cheesy hokum of his

the first commercial eight-track tape recorders. This

television appearances. The compilation Capitol Masters

innovation alone would have been sufficient to ensure his

nonetheless offers an excellent and worthwhile introduction

place in the annals of music history.

to his considerable musical skills.

JOE PERRY When Aerosmith first emerged in the early 1970s it was easy to dismiss lead vocalist Steve Tyler and guitarist Joe Perry as a poor man’s Jagger and Richards. Yet in spite of embracing (with some gusto) the hedonism of the 1970s rock star lifestyle, they endured to produce some of the catchiest stadium rock of the decade. The band’s most memorable tracks are inevitably driven by Joe Perry’s dirty, raw riffing.

NAME Anthony Joseph Perry BORN September 10, 1950, Lawrence, MA, US LES PAULS 1959 Standard; Gibson Joe Perry 1959 Standard signature model; Gibson Custom Joe Perry Boneyard Les Paul

but remains most closely associated with the Les Paul, which can be heard in full flight on Aerosmith’s biggest commercial hit, Toys in the Attic, an album with sales approaching ten million copies since its release in 1975.

BANDS Aerosmith; Joe Perry Project RECORDINGS Toys in the Attic (Aerosmith, 1975); Get a Grip (Aerosmith, 1993)

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He is said to have a collection of over six hundred guitars,

Gibson have since honored Perry with a number of signature instruments that he nowadays tends to use as his stage guitars.

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KEITH RICHARDS The unpretentious driving force behind the Rolling Stones, since the mid-1970s Keith Richards has been associated primarily with the Telecaster he calls “Micawber,” set up for five-string open-G tuning. However, in 1964 he acquired a 1959 Standard, becoming the first big-name Les Paul player, widely seen with what was then an unfashionable, out-ofproduction guitar. Richards used the Standard on such

NAME Keith Richards

classics as “Satisfaction” (using a Gibson Maestro fuzz box

BORN December 18, 1943, Dartford, UK

on the iconic lead riff) and “The Last Time.”

LES PAULS 1959 Standard (known as the “Keith

In 1966, Richards switched to playing three-pickup Les

Burst”); Custom (at least four models, one 1957,

Paul Customs, meanwhile selling his Standard (the so-called

others unidentified late-1950s)

“Keith Burst”) to future Rolling Stone Mick Taylor. A former

BANDS The Rolling Stones; the New Barbarians;

art student, Richards famously gave his 1957 Custom a

the Dirty Mac

fabulous psychedelic hand-painted finish. Until 1966,

RECORDINGS Let it Bleed (The Rolling Stones, 1969);

Richards used a Fender Dual Showman amplifier, before

Sticky Fingers (The Rolling Stones, 1971)

switching to Vox, Hiwatt, and Ampeg amplifiers.

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KEITH RICHARDS | MICK RONSON | SONNY SHARROCK

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MICK RONSON

One of rock’s great sidemen, in early 1970 Mick Ronson was working in his native Kingston upon Hull as a park keeper when a former colleague sought him out to form a backing band for David Bowie. Having spent the previous five years trying with little success to make an impression on the London music scene, Ronson was initially reluctant to return. A meeting with the young singer convinced him otherwise,

NAME Michael “Mick” Ronson

and over the three years that followed he established his

BORN May 26, 1946, Kingston upon Hull, UK

reputation on a succession of classic albums, from The Man

DIED April 29, 1993, London, UK

who Sold the World to Hunky Dory, Ziggy Stardust and the

LES PAULS 1968 Custom

Spiders from Mars, and Aladdin Sane. On stage, Ronson

BANDS David Bowie; Ian Hunter; Mott the Hoople;

proved the perfect foil for Bowie’s theatrical Ziggy Stardust

Mick Ronson

persona—what the singer described as “that old-fashioned

RECORDINGS The Man Who Sold the World

Yin and Yang thing.”

(David Bowie, 1970); Slaughter on 10th Avenue

Although Ronson was known to have owned other Les

(Mick Ronson, 1974)

Pauls, there is one specific instrument which he played almost exclusively until the early 1980s. Ronson’s 1968 Les Paul Custom began life as a “Black Beauty” until he sanded down

topped by a Roland RE-501 Chorus Echo, which used loops

the top to the bare grain, believing that it would improve the

of magnetic tape to create delay effects. When Bowie disbanded his backing group in 1974,

tone, as well as removing the pickup covers. Throughout his time with Bowie, Ronson used a 200-watt

Ronson’s reputation was such that he was able to secure a

modified Marshall Major head through a 4x12 stack. His

solo record deal. Although his debut album, Slaughter on

main stompbox effects were a Sola Sound Tone Bender Mk I

10th Avenue, was a top ten hit, Ronson found himself

and a Cry Baby wah-wah pedal. Later during the 1970s he

unsuited to being the sole focus of attention. Following a

would introduce a pedal board that included an MXR

successful collaboration with Mott The Hoople’s Ian Hunter,

Distortion +, Dan Armstrong Orange Squeezer compressor,

Ronson stepped back to the life of a celebrity sideman and

Marshall Blues Breaker gain, Pro Co RAT distortion, Boss

producer, working with the likes of Bob Dylan, John Cougar

VB-2 vibrato, and Boss PN-2 tremolo. When he switched to

Mellencamp, Elton John, and Morrissey.

the Marshall JTM45 amplifier his stack would usually be

Mick Ronson died in 1993 from liver cancer.

SONNY SHARROCK One of the few guitarists to emerge from the free jazz vogue, Sonny Sharrock defined his own agenda succinctly: ”I want the sweetness and the brutality, and I want to go to the very end of each of those feelings . . . I’ve been trying to find a way for the terror and the beauty to live together in one song. I know it’s possible.” Needless to say, the sounds he coaxed NAME Warren Harding “Sonny” Sharrock

from his Les Paul Custom and Marshall 100-watt JCM800

BORN August 27, 1940, Ossening, NY, US

make for a challenging listen. His album Guitar is just

DIED May 26, 1994, Ossening, NY, US

that—a series of duets featuring Sharrock improvising

LES PAULS Custom (1970s model)

alongside himself on pieces that range from gentle ambient

BANDS Sonny Sharrock; Material; Last Exit

drones, through off-kilter blues to a hybrid of jazz-metal-

RECORDINGS Memory Serves (Material, 1981);

thrash. Sharrock’s was without doubt a unique and

Guitar (Sonny Sharrock, 1986)

uncompromising voice.

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SLASH Born in London and raised in Los Angeles, Saul Hudson emerged in 1987 with the release of Appetite For Destruction, the debut album from Guns N’ Roses. It was a sound that infused the classic “hair metal” template—so popular in 1980s America—with the raw energy of punk, the distinctive yowl of Axl Rose, and Slash’s virtuosic Les Paul riffing. The album sold twenty-eight million copies and remains the biggest selling debut of all time in the United States, the impeccable soloing on songs such as “Sweet Child O’ Mine” and “Paradise City” acquiring instant classic status. The year 1991 saw Guns N’ Roses at their commercial peak, embarking on the two-year Use Your Illusion world tour during which they played to more than seven million fans. Drug abuse and personal tensions saw the band derailed

NAME Saul Hudson, known as “Slash” BORN July 23, 1965, London, UK LES PAULS Standards BANDS Guns N’ Roses; Slash’s Snakepit; Velvet Revolver; Slash RECORDINGS Appetite For Destruction (Guns N’ Roses, 1987); Contraband (Velvet Revolver, 2004)

throughout most the 1990s, after which Slash moved on to his own projects, most successfully with Velvet Revolver, in

And yet, there is an interesting background story to Slash’s

which he was reunited with his former rhythm section, Duff

patronage of the Les Paul: it’s widely believed that the

McKagan (bass) and Matt Sorum (drums).

instrument that provided so many of the famous solos on

Most of Slash’s notable work has been played using an

Appetite For Destruction was not, in fact, a genuine Gibson,

assortment of Les Paul Standards, and in 2010, marking the

but a boutique replica built by Massachusetts luthier Kris

twenty-fifth anniversary of his former band’s classic debut,

Derrig. Whatever the truth, during an era of pointy

Gibson launched to critical acclaim the Slash Appetite Les

headstocks and Superstrats, Slash was largely responsible for

Paul tribute model.

bringing the Les Paul back into fashion.

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SLASH | HUBERT SUMLIN | MICK TAYLOR

179

HUBERT SUMLIN Hubert Sumlin was an important influence on many of the young blues boomers who found inspiration in those sharpededged riffs heard on Howlin’ Wolf’s greatest recordings. Hired by Wolf in 1954, Sumlin remained an integral part of his band until the singer’s death in 1976. During that time he came up with riffs for blues classics like “Smokestack Lightning” NAME Hubert Charles Sumlin

(1956), “Wang Wang Doodle” (1960), and “Goin’ Down

BORN November 16, 1931, Greenwood, MS, US

Slow” (1961). Sumlin played a 1955 Les Paul Goldtop throughout much

DIED December 4, 2011, Wayne, NJ, US LES PAUL Goldtop (mid-1950s)

of a lengthy career, playing fingerstyle rather than with a pick,

BANDS Howlin’ Wolf; Hubert Sumlin

striking the strings directly above the P-90 rhythm pickup.

RECORDINGS Moanin’ in the Moonlight (Howlin’ Wolf, 1959); Howlin’ Wolf (Howlin Wolf’, 1962)

Sumlin—who influenced Jimmy Page, Eric Clapton, and the Rolling Stones—died in 2011, and as a final tribute Mick Jagger and Keith Richards paid the funeral expenses.

MICK TAYLOR

Rolling Stones’ piano-playing road manager, Taylor was told

Seemingly one of rock’s “lost” guitar heroes, Mick Taylor

of the Les Paul through the Marshall [JTM45].” As we can

followed in the mighty footsteps of Eric Clapton and Peter

hear on Crusade, the only album Taylor recorded with

Green in serving an apprenticeship within the ranks of John

Mayall, his playing and sound was considerably more than

Mayall’s Bluesbreakers before moving on to global stardom

mere imitation.

as Brian Jones’ replacement in the Rolling Stones. Taylor is

he had to “mimic the classic Clapton-era Bluesbreakers sound

Taylor’s first Les Paul was stolen in 1967 and he struggled

widely regarded as a crucial factor in the band’s transition

to find a replacement. After a chance meeting with Stewart,

towards the harder rock sound heard on such classic albums

Taylor paid a visit to London’s Olympic Studios where Keith

as Let It Bleed, Exile on Main St., and Sticky Fingers.

Richards agreed to sell him his 1959 Standard. This

Taylor made his debut with the Bluesbreakers at age

instrument, which had been converted with a Bigsby vibrato

seventeen, taking a classic blues-rock approach but fusing it

before it came into Richards’ hands, was used on many of the

with elements of Latin and jazz. According to Ian Stewart, the

Stones’ early hits, but by this time the guitarist preferred a recently acquired Les Paul Custom. When he joined the Stones two years later, Taylor used the Standard—now universally referred to as the “Keith Burst”— on some of the band’s most celebrated recordings. The guitar is now in the hands of a private European collector who is rumored to have paid in excess of a million dollars. Taylor suddenly left the Stones at the end of 1974, The New York Times describing him as “the most accomplished technician who ever served as a Stone . . . a blues guitarist

NAME Michael Kevin “Mick” Taylor

with a jazzman’s flair for melodic invention.” Although many

BORN January 17, 1949, Welwyn Garden City, UK

would have expected him to achieve stellar solo success, he

LES PAULS 1959 Standard (The “Keith Burst”);

followed a surprisingly understated career path. Reluctant to discuss his time with the Stones, Taylor, now

various other Standards BANDS The Gods; John Mayall’s Bluesbreakers;

living a quiet rural life in a small cottage in Suffolk, UK, broke

the Rolling Stones; Mick Taylor

his silence in 2009 to discuss the chaotic drug culture

RECORDINGS Crusade (John Mayall’s Bluesbreakers,

surrounding the band: “Make no bones about it,” he declared,

1967); Exile on Main St. (The Rolling Stones, 1972)

“had I remained with the band I would probably be dead.”

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PETE TOWNSHEND Like many other great players, the Who’s Pete Townshend has never remained truly faithful to one type of guitar. During the band’s early mod period he used Rickenbackers, moving on to Fender Stratocasters before, in 1967, settling for a while on the Gibson SG—the instrument for which he’s perhaps best known. Throughout much of the 1970s, however, as the Who NAME Peter Dennis Blandford Townshend

moved towards a heavier sound, Townshend began to adopt

BORN May 19, 1945, Chiswick, London, UK

Les Pauls, especially for live use. His chosen model was the

LES PAUL Various Deluxe models, dated from

Deluxe, of which he owned a large number, each one bearing

1972 to 1976—heavily modified with addition of

a decal on the body below the tailstop showing its number;

a center pickup

this was to identify different capo settings on stage.

BANDS The Detours; the High Numbers; the Who;

From 1976, Alan Rogan, Townshend’s guitar technician,

Pete Townshend

began modifying the Deluxes, adding a middle DiMarzio

RECORDINGS Rough Mix (Pete Townshend and

Dual Sound humbucker with two additional switches, one of

Ronnie Lane, 1977); Who Are You (The Who, 1978)

them a three-way selector, the other a two-way coil-tap for the humbucker.

ZAKK WYLDE

of course, remembers Randy Rhoads, the young virtuoso who

As part of Black Sabbath, throughout much of the 1970s

accident; Jake E. Lee had the unenviable task of filling his

singer Ozzy Osbourne fronted what many would argue was

boots on stage. Then, in 1987, after sending Ozzy Osbourne

the first true heavy metal band. Based largely in the United

a demo cassette of his own work, the job went to nineteen-

States, Osbourne would also enjoy a substantial solo career,

year-old Zakk Wylde.

his backing band emerging as a breeding ground for some of the finest young rock guitarists of their generation. Everyone,

died in 1982 at the age of twenty-five in a tragic aircraft

Primarily influenced, both in his playing and stagecraft, by Randy Rhoads, Wylde succeeded in giving a rawer edge to Osbourne’s sound and in doing so became a significant influence on the generation of shredders that followed; Wylde is capable of soloing at impossibly high speeds, has an extraordinarily wide and controlled vibrato, and is a master of the pinch harmonic technique. Wylde has a large collection of Les Paul Custom models which he plays on stage through a Marshall JCM800 with a pair of 4x12 cabinets. His original battered 1981 Custom was given its (now characteristic) black and white concentric circle paint job in 1987, and he refers to it as “The Grail.”

NAME Jeffrey Phillip Wieldandt

Similar designs have graced most of his subsequent guitars,

BORN January 14, 1967, Bayonne, NY, US

including his own Gibson and Epiphone signature Les Paul

LES PAULS Various Customs; Gibson

Customs. Curiously, this wasn’t the image he’d had in mind.

and Epiphone Zakk Wylde Les Paul Custom

With his first photographic session for Ozzy Osbourne

signature models; Les Paul Jr.

looming, he wanted a unique paint job for his guitar, just as

BANDS Ozzy Osbourne; Pride & Glory; Black

Randy Rhoads had his own trademark polka dot finishes.

Label Society

“I asked for the Hitchcock Vertigo design [the spiral from

RECORDINGS No Rest for the Wicked (Ozzy

the film’s opening credits], but it came back with the bull’s

Osbourne, 1988); Catacombs of the Black Vatican

eye on it. I had to do the photoshoot the next day, so I was

(Black Label Society, 2014)

like, fuck it!”

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PETE TOWNSHEND | ZAKK WYLDE | NEIL YOUNG

181

NEIL YOUNG Neil Young is, of course, far more widely regarded as a singer-songwriter than a guitarist, and yet we only have to listen to the primal sounds of “Hey Hey, My My (Into the Black)” from Rust Never Sleeps to understand what the New York Times meant when describing him as “the rock equivalent of an abstract expressionist painting.” The owner of a relatively small collection of nonetheless

NAME Neil Percival Young BORN November 12, 1945, Toronto, Canada

prized guitars (among them Hank Williams’ Martin D-28),

LES PAULS 1953 Goldtop (refinished in black and

most of Young’s electric guitar recordings were made on a

nicknamed “Old Black”)

1953 Les Paul Goldtop that came his way in 1969. The

BANDS Buffalo Springfield; Neil Young; Crazy

previous owner had stripped off the gold finish and given it a

Horse; Crosby, Stills, Nash & Young

crude amateur paint job. Young fitted a Bigsby and christened

RECORDINGS Everybody Knows this is Nowhere

the guitar “Old Black.” In 1972, he replaced the bridge

(Neil Young with Crazy Horse, 1969); Rust Never

pickup with a mini-humbucker taken from a Gibson Firebird,

Sleeps (Neil Young and Crazy Horse, 1979)

its notorious microphony considered to be a crucial part of Young’s sound.

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6 APPENDICES We’ll finish with a selection of reference material. A troubleshooting diagram highlights common problems and points you to the relevant pages in the book where you’ll find solutions. A similar hot-rodding diagram shows you where to look to upgrade your Epiphone Les Paul. You’ll also find exhaustive information on how to work out the date of manufacture for any Les Paul ever built. All of the parts needed to maintain, repair, or modify your guitar are easily available and can be found using the links suggested in the extensive contacts list.

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TALKING HEADS Now let’s talk to some experts in the field. Dave Gregory found fame as the guitarist in the band XTC; he has played on sessions for the likes of Peter Gabriel, Steve Hogarth, Steve Wilson and Porcupine Tree, Big Big Train, and Tin Spirits. Jim Barber is a session guitarist with more than two hundred credits to his name, including appearances on albums by the Rolling Stones; an inveterate modder, he was formerly Keith Richards’ guitar technician. Jaime Campbell is the founder of the Creamery, one of Britain’s leading handwound pickup makers.

DAVE GREGORY

Cream’s first single [“Wrapping Paper”], because I hadn’t heard the Bluesbreakers Beano album prior to that. But it was

Hailing from Swindon in the west of England, for almost

Cream that started this whole thing for me. Beat

twenty years Dave Gregory played guitar in the celebrated

International [British music magazine] started talking about

art-pop band XTC. His relationship with the Les Paul began

this guitar. I’d never heard of Les Paul—I didn’t know who he

as a child, even before he’d ever picked up a guitar.

was—and I’d thought it was French and pronounced the “Lay” Paul or something! And then I saw the pictures of Eric

What were your earliest experiences of a Les Paul?

Clapton, probably at the Richmond Blues Festival; he was wearing that silver jacket and playing that guitar. Again, Eric

It probably would have been seeing Keith Richards in the

just looked so perfect. I heard this lead break in the middle of

Rolling Stones on Top of the Pops [British television music

“Cat Squirrel” in around late ’66, about the time I first

show] doing “The Last Time.” There was Brian Jones and his

picked up a guitar and decided that was what I wanted to do.

white Vox Mk. III Teardrop, which looked pretty damn cool,

I heard this beautiful butter-smooth tone, and it was this big

and then there was Keith with this pretty single cutaway

sound—it was such a confident sound—but had a lovely

guitar. That was a few years before I’d even started playing,

musical quality and a richness of tone I hadn’t heard from

but I just saw him strumming this thing and thought: “That’s

any guitar. By Christmas they’d put out the single “I Feel

a cool looking guitar.” And, of course, Keith and the Stones

Free” and it had this guitar solo that sounded, well, like a

not exactly being chunky fellows, the guitar looked just the

human voice almost. It was extraordinary—I’d never heard

right size—he looked great holding that little guitar, it looked

anyone make a sound like that before.

perfectly balanced and great on television.

The other important player for me was Jeff Beck. Around

That was the visual thing—I didn’t have a clue about any

the same sort of time he put out “Hi Ho Silver Lining,” but if

electric guitars at that time. The first time I actually heard a

you flipped that over you got “Beck’s Bolero,” and there were

Les Paul would have been “Cat’s Squirrel” on the B-side of

a whole lot of sounds in there that were like: “Oh my God!

Dave Gregory’s 1953 Les Paul Goldtop

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How did he make that sound?” And of course the more I investigated, the more I found that it all seemed to go back to this Les Paul guitar. So that was what really piqued my interest. But I was still only kid—I got my first guitar at Christmas ’66 and at that time I was still struggling to hold down a chord. When did I first pick one up? That would be in about 1972. An American offered me a really early Les Paul Goldtop for two-hundred fifty pounds to pay for his ticket back home. I couldn’t afford it then, but he brought it over. I just gazed at it. It was really beaten up. There’d been a trapeze tailpiece but someone had taken the trapeze off, kept the bar and screwed it into the body with two wood screws! But as soon as I plugged it in I felt it had an energy to it, and sounded so big. I played it through the AC30 I used with my Telecaster, which I’d fitted with a humbucker, as I was desperate to get that Jimmy Page sound. That was when I realized that I’d wasted the money on pickups when I needed to have just saved up a

XTC’s Skylarking, one of the pop highlights of the 1980s

bit longer for the real deal. All I knew was that as soon as I plugged it in something magic happened. I had the guitar for

practices, he really put effort into getting some credibility back

two weeks before the guy sold it, but the sound of it and the

to the company. I mean, now they make some really lovely

feel of it just stayed with me—and the way it responded made

well-made guitars, and they’ve found some lovely woods for

me sound a lot better than I really was. I missed out on that

the tops and are beautifully finished—but do they sound like a

guitar, but when I eventually had the money I never found that

vintage Les Paul? No. They’re nice instruments, but vintage

quality in any of the reissues that came out at the time. All of

Les Pauls they ain’t.

those Les Pauls I played from after 1968, they never sounded

When it comes to the late ’50s Standards, though, my

the same—as far was I was concerned they were just Les Paul-

argument would be that if it weren’t for three crucial factors—

shaped guitars, because having played that original Goldtop I

the original ’58 guitar, the Marshall amplifier, and the young

couldn’t hear any similarity.

Eric Clapton—if those things hadn’t come together at that time then I very much doubt that those guitars would have the

Do you feel the same about all of the Les Pauls that have

reputation they do today. The Les Paul would now just be a

been produced since 1968?

nice, sought-after 1950s guitar. But are they worth a quarter of a million pounds? Well, not to me, no. But who knows

Well they got off to a bad start because Norlin were in charge

what rock guitar would sound like today if those three

in 1968 and they suddenly latched onto the idea that all these

elements hadn’t been in place back in 1965.

young people were going for this guitar that had been a failure in the market place—they couldn’t sell them at all in 1959,

So tell us about the Les Pauls you have owned—which ones

you know dealers were left with stockpiles of this expensive

are your favorites?

guitar that nobody wanted—and then they produced these new guitars that had mini-humbuckers! They looked very

My first Les Paul would have been a 1974 “Twentieth

pretty but they were appallingly expensive, and it was made

Anniversary” Custom that I toured with XTC in 1980–81.

by this Norlin company whose main interest was getting as

A horrible guitar! I had the frets replaced with jumbo-sized

many instruments as possible out of the doors and putting

wire, and the bridge pick-up substituted with a Seymour

nice big price tags on them. Of course, they sold like hot cakes

Duncan with coil taps installed in both units. I had no qualms

when, in fact, they were a crock of old shit! Actually, that is

about customizing that! It was a cold, heavy, lifeless thing but

being a bit unfair because since Henry Juszkiewicz took over

was quite pretty to look at, and easily replaced if nicked or

the company, in spite of the questionable employment

damaged on the road.

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that I bought was virtually unplayable. It had the original frets and a pitted fretboard, and the bridge had been set up badly, but, again, as soon as I plugged it in something magical happened. I thought: “This may be unfashionable, it may not be the sound of the ’80s, it may not be good for funky groovy stuff and new wave music, but it’s got that lovely rich old blues thing . . . I wonder if I talk nicely to the salesman he’ll knock a few dollars off the price.” I handed him an envelope with nine hundred dollars and then raced back to the studio before he could change his mind! But even with the state it was in I couldn’t wait to plug it in and get it on the record. I said: “C’mon, I’ve waited my whole life for one of these, let’s get it on the record, never mind all the work I’ve got to do on it!” And so we did “Dear God” [XTC’s breakthrough single in the United States] where I used it on the arpeggio parts. And it’s still with me now and about to go out on tour again. It’s a versatile guitar that you can use in almost any situation; if I had to save only one guitar from a burning building that would be it—you can do practically anything with it. I also have a pair of Les Paul Juniors, a ’54 single cutaway and the other a ’59 double cut. The Junior is a very underrated instrument. It’s only got one pickup but can produce a really lovely tone. Dave Gregory and his favorite instrument What’s your preferred amplifier for playing with any of

My first proper Les Paul was the Goldtop, which I picked

your Les Pauls?

up in San Francisco in 1986 when we were recording with Todd Rundgren [XTC’s Skylarking album]. It was at a time

Well, the right guitar will sound great through any amp. I

when old Goldtops were not fashionable, everyone wanted

play the Goldtop through my Matchless and it sounds very

the Standards, and the smart money of the time was going on

nice, but then again the Matchless flatters practically

old Strats and Teles. So I walked into this guitar store and

anything, particularly single coils like the P-90. Last year I

there were these two old Goldtops hanging on the wall, thick

found this little 18-watt Marshall reissue. It sounds

with dust, that had obviously been there a long time. The one

gorgeous—it’s just a really lovely marriage and makes a

Dave Gregory’s 1959 Les Paul Junior Double Cutaway

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TALKING HEADS

sound that immediately takes me to Eric Clapton on the first

enough for those guys, then leave it alone and just keep

Cream album, and Jeff Beck, especially his Truth album,

practicing. With the benefit of hindsight I’ve done some

which is a really great example of a Marshall and Les Paul.

terrible things to guitars! Now I just prefer to leave them as

But I also loved the sound that Peter Green and Danny

they left the factory, and just see where hard work and

Kirwan made when they were in full flow with Fleetwood

combinations of amps and pedals take things.

Mac, and they played their Les Pauls through Fender Twins,

187

For anyone starting out or on a budget, though, getting an

I think. But in the end it’s all about the player—and a good

Epiphone Les Paul and working on it is a really good option.

player will get the best out of their combo.

But don’t go spending a fortune on a vintage pickup and expect your Epiphone to sound like a ’58 Gibson. You might be lucky, but I’d say that was a risky strategy. That said,

So where do you stand on modding?

recently I took the horrible pickups out of a Mexican Fender When I was young and immature I was always modifying

and just replaced them with some Lindy Fralins I happened to

guitars. I wasn’t very good really and I thought, for example,

have, and that sounds amazing—a really nice guitar. I think

changing the pickups might help. Today, of course, you see

there’s real merit in starting out with a two-hundred-dollar

original PAFs on eBay going for a fortune, but my opinion

Epiphone Les Paul and trying out, say, a set of Seymour

would be that if you were to put an old ’59 PAF into a

Duncan pickups. You can learn a lot from rewiring, you can

modern Les Paul it would just make it sound louder, I don’t

put your own looms in, you can put different circuits with

think it would help with the tone that much. There was a

phase cancellation and what have you—all these different

time when I would have said: “Yeah, let’s soup it up—let’s

things you can customize. But in order to learn this sort of

hot rod it.” But then I thought, my heroes were Jeff Beck,

thing don’t start out on an expensive guitar—I know a lot of

and Eric, and Jimmy Page, and—apart from Jimmy’s wiring

players who have “upgraded” vintage guitars and lived to

stuff—they didn’t modify those Les Pauls . . . so if it’s good

regret it!

JIM BARBER Having performed professionally since his early teens, Jim Barber was employed as Keith Richards’ guitar technician during the 1980s, both in the studio and on tour. His playing has not only graced albums by the Stones and Mick Jagger, but he was also an original member of the Law with ex-Free/Bad Company vocalist Paul Rodgers. He currently fronts his own project, the Barberians. Tell us about your involvement with the Rolling Stones.

I took over in 1982 for their European tour. I was looking after all of the Stones’ guitars—on tour I believe there were forty-two of them! That was not just Keith, but Ronnie, and also Mick Jagger, who was playing Ovation acoustics as well as a couple of SGs. For every guitar that Keith and Ronnie used on every song, I’d had to have a spare one ready and in tune in case they broke a string. So I was constantly tuning about a half a dozen guitars during every song. They were nearly all vintage guitars back then, quite a few very early Teles and Strats. The Teles were modified, mostly

Jim Barber (right) with Keith Richards (left) during

with Schecter bridges and Sperzel machine heads, and Keith

sessions for the Rolling Stones’ Undercover album

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also had a PAF in the neck position on his Tele, which he

watch him play something and then I’d run out, grab a guitar,

never ever used—I think he just liked the look of it. And there

and try and copy what he’d done. He’d very often see me and

was his famous Tele that now everyone knows as

come up and correct me. At the time he was using the

“Macawber,” although he certainly never used to call it that

prototype of what would become his signature Fender

when I was working for him.

Stratocaster. It was yellow and had the fattest neck you’ve

I used to make sure the strings were changed all the time,

ever seen—it was like a floorboard! It was horrible to play

which he preferred—they were 9 to 42s—and the Telecasters

but he liked the sound. I think it had those stacked

were all tuned to open G, with the bottom strings removed—

humbuckers, the ones that became the Fender Noiseless

he picked that up years earlier from Ry Cooder. And I’d

pickups. I did some work on it because he was having such a

always have to slot a plectrum between the strings on the

lot of problems keeping it in tune. Actually, like any Strat,

fourth fret. He didn’t like his guitars set up with too low

you need to be prepared to spend a lot of time setting it up

action—he liked to “get under the strings,” as he put it.

because there are so many variables.

It was interesting working with him. Although he wasn’t what you’d call a “great” guitarist, I never ever heard him

You’ve been heavily modifying your guitars right from

play a bum note, and he’d never fumble around the

the beginning. How did you first get started doing that

fingerboard. He’s a guitarist who I think is aware of his own

sort of thing?

limitations and sticks to them. The first modification I did was on a fifteen-pound Japanese You also worked with Jeff Beck, who I know is someone

Woolworth’s Top Twenty guitar, which was a really bad copy

you admire a great deal.

of a Stratocaster with a “cardboard” fingerboard. I ordered a set of humbuckers, and Tune-o-matic bridge, and one of

Yes, that was on Mick Jagger’s solo album. After I’d stopped

those Maestro Vibrola tremolos from Gibson in America.

working for the Stones, Mick asked me if I’d play rhythm

They turned up about ten months later and cost a fortune,

guitar on his album, as well as recording the demos at his

but I fitted them to the Top Twenty and used it for about five

chateau in the Loire Valley. I wasn’t sure about doing the

years until I got a Les Paul. So very early on I realized that

engineering as I assumed he’d have a state-of-the-art studio,

you could put pickups, bridges, machine heads—all the parts

so I put myself through a three-day intensive course to learn

that make a difference—onto what was basically a plank of

how to use a digital SSL desk. When I arrived at his place in

wood, and it would sing. It had quite a distinctive sound.

France, I discovered his “studio” was a four-track Fostex cassette recorder!

After I’d been playing Strats and Les Pauls for a while I realized I wasn’t happy with either one because neither could

Jeff Beck played lead on the album, and I sat in on all his

do exactly what I wanted: the Les Paul was too meaty, too

recordings, which were done in the control room, and got to

big, and too fat; the Strat was too thin. Then I started playing

know him really well. I’d get these little lessons off him—I’d

with putting humbuckers on Strats, which produced a sort of hybrid sound. You got the tonality of the Strat to a degree, but you could also push the humbuckers and it wouldn’t feed back, and so it almost crossed over to a Gibson sound. I was ordering parts from America but they took forever to get here. Then in about 1975 I got what I think were the first Seymour Duncan pickups to come into the country, which I modified so I could coil-tap them. I’d been doing that previously with DiMarzio humbuckers, but although they were powerful I couldn’t get much clarity so was never too happy with the tone. The Seymour Duncans were based on early Gibson PAFs, a bit brighter and a lot more consistent

Jim Barber (right) playing the original Jackson Soloist, with Doug Wimbish (left), and Jeff Beck (center).

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than the originals, which I’d also used and were all different. I think it’s a bit of a myth when people talk about how great PAF pickups were, or early Strat pickups, because they

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the guitar they’re putting them on. They resonate differently, the woods they’re made from, the fingerboards, the necks . . . there are so many variables. I think it’s wrong to claim that, say, fitting a DiMarzio Super Distortion to a guitar will make it sound just like another one. It just doesn’t happen. You were one of the early converts to the Floyd Rose locking tremolo system. What was its appeal for you?

I’ve always used the vibrato very heavily and sometimes had problems getting Strats to stay in tune. When the Floyd Rose came out it was bit of a dream. When I picked up a damaged 1982 Les Paul Custom I thought I’d fit a Floyd Rose to that— this was before Gibson had produced any Les Pauls with Floyds. I’d had plenty of Strats with Floyds and humbuckers I’d put on but I’d never done it the other way. I thought it would be interesting because a big part of the Strat sound is obviously the bridge mechanism and the springs. If you get a hardtail Strat, they don’t sound the same as a normal Strat. It’s a bit of dead sound. When Leo Fender designed that bridge it was to float, it wasn’t to stay flat on the guitar and then be lifted up when you wanted to. Floyd Rose actually took that idea a stage further, but instead of six pivot points there were two. An earlier version of “Frankie,” Jim Barber’s

If the Floyd Rose is set up floating, you automatically get

attempt at the ultimate stage guitar and a candidate for

that springy Strat open sound. I wanted that on a Les Paul, so

the title of the most-modded Les Paul of all time

I routed out the back, and immediately made the mistake of going right through the humbucker cavity as well! So it’s

were all handwound and sounded different from one another, and that means you never know exactly what you’re going to

quite an “open” guitar! But it worked like a dream. After a while and I started to get into the guitar

get. Only a couple of weeks ago I was looking at a ’67 SG

synthesizer, and realized there was still a lot of room in the

Standard for a friend: we plugged it in and found that the

body for added electronics, so I fitted a Roland 13-pin MIDI

bridge pickup was twice as loud as the neck pickup; when we

pickup and then put a Fernandes sustainer in the neck

took it apart there were literally half the number of windings

position wired up to a “push-push” pot. (I never liked

on the neck pickup. It had never been touched before—

“push-pull” pots for the simple reason of having to grab the

someone at Gibson probably just wanted to get away from

edge of the knob to lift them up.)

the factory early that Friday afternoon.

I then started looking at adding a third pickup, but I didn’t

Back then there weren’t that many companies actually

want to rout out the middle so I bought a Seymour Duncan

making pickups, though. There was Schecter and DiMarzio,

Little ’59, which is Strat-size humbucker that could fit

and then Seymour Duncan sort of changed the game when he

alongside the sustainer in the neck humbucker cavity.

came along because he was making very good copies of early

The guitar, which I call “Frankie,” has become a bit of

Gibson PAFs, and I think it made the other companies follow

project for me and my mate Steve Hoyland. [He’s the man

suit because people realized that they wanted that sound. In a

who carries out the modifications to Jimmy Page’s legendary

way, though, that’s even a bit of a myth. I see guitarists on

Les Pauls.] Next we’re replacing the original Floyd Rose unit

forums nowadays and they go on about the handwound

with one made by Graph Tech, which has piezos built into

pickups they’ve got, but each guitar is different. To be honest,

each bridge saddle. I’m not saying it will make it sound like a

I never recommend pickups to anybody because I don’t know

Martin or Ramirez, but it does give a reasonable acoustic

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sound. I’m also replacing the Roland MIDI pickup with a Fishman Triple Play wireless MIDI system. So there are four different types of pickup: the usual magnetics, the piezos, the Fishman and the sustainer, all connected up through a fiveway switching mechanism. It’s a pretty heavy guitar, about fourteen-and-a-half pounds, which most guitarists would faint at the thought of using, but after years of playing a double-neck it feels like a lightweight Telecaster, to be honest! But it’s a very functional guitar that I can use on stage to do everything. I got fed up with changing guitars and having to worry about the tuning and settings. What are your thoughts on vibrato springs?

On a Strat you can change from eights to nines [string gauges] and although you’ll notice a difference in the tremolo, it should still work okay. On the Floyd, though, even if you just change a top eight to a nine it will throw the whole thing out and you’ll need to adjust the springs. But the springs

Jim Barber’s 2014 album, The Light Warriors

really make a difference to the sound. In the 1980s when people started putting Floyd Roses on Strats I used to go

as good as the Custom. Maybe I was lucky, because that was

around trying to buy up old Strat springs. Basically, when

a particularly good guitar—and it still is. But I must have

they’re worn in they’re so much better than when they’re

played at least sixty Les Pauls from that period, and I don’t

brand new. And there’s something about the steel they used in

really get it—only three or four of them I’d call incredible

those days, as well. I don’t know what it was, but it had a

instruments. One belonged to Paul Rodgers and was the one

sound, and that’s what I use on my Floyds now. I don’t think

Paul Kossoff used on “All Right Now.” There’s Page’s two

it’s just me being anal. I tried out some new shiny chrome

’59s. And then the famous “Brock Burst,” which I was

springs the other day, and you could hear the difference.

offered for fifteen thousand dollars in 1982. The 1959 Les

I’ve been playing the guitar long enough to know that there are little things that make a big difference to me

Paul I owned would probably now be worth about a quarter of a million pounds!

personally . . . and if they make a difference to me then they’re likely to make a difference to someone else as well. It’s

Is there such a thing as a quarter-of-a-million-pound sound?

learning about what those small differences are, that’s what it’s all about. It’s not about ripping your guitar apart for the

That is the million-dollar question. I don’t know if there is.

sake of it, but there really are things you can do that can turn

Years ago I was offered a 1958 three-pickup with a Bigsby,

an average guitar into something really good.

which I had for about six months, but I kept comparing it to my 1974 Les Paul, which I preferred, and I thought why

You’ve owned some legendary instruments, including

would I pay all that money for an old guitar that doesn’t play

a number of late-1950s Gibson Les Pauls. How do they

that well or sound as good as the one I already have? I’ve now owned two ’58s and one sunburst ’59. Were they

match up to the reputation?

killer guitars? I don’t think so. Were they each worth between Well, personally I think it’s a myth usually touted by

eighty thousand and a quarter of million pounds? I can’t see

collectors trying to get top dollar for their instruments! Years

it. For me, my ’74 plays and sounds better than all three of

ago I bought my first Les Paul, a Custom, brand new in 1974.

them. But if I said that to a collector they’d probably hold up

At the same time the shop had three ’59s for sale. They

the sign of the devil and brand me “unclean!” But that’s

weren’t pristine models, and, to me, they didn’t play or sound

where I come from. I’m a player. I’m not a collector.

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As a professional, how often do you change your strings?

191

“craftsmanship” in conjunction with Fender, whereas I probably would with Gibson.

I change them when I break one! But different things can

As for what you should and shouldn’t do? Well, if you

affect the way strings change. Anyone who drinks alcohol

can’t use a soldering iron then you need to find someone who

will sweat through their fingers, and that eats into the strings

can if you want to change the pickups, which is the most

and will rust them really quick—which is why I very rarely

important thing for changing the sound. There are other

let anyone play my guitars, especially if they drink. Someone

aspects to the pickups, of course, like the height. You can get

who drinks heavily will sweat like anything and that will rust

this problem with Stratocaster pickups where you get a kind

the strings more quickly—they’ll also have to be careful with

of magnetic pull that makes it sound out of tune. So you don’t

the fingerboards as well, in terms of keeping them clean and

have to have the pickups as close to the strings as possible.

feeding them with lemon oil, or whatever, otherwise they’ll

Also really important is the positioning of the pole pieces

end up getting ruined, especially rosewood fingerboards—I’ve

under the strings. If you’re moving pickups around between

seen those absolutely wrecked on some old Fenders.

Les Pauls and Strats, then you need to understand that the

It’s not only alcohol and strings. If someone eats fried

spacing of the bridge saddles is not actually the same—and I

chicken at gigs, which used to be quite common in America,

found that out to my cost when I first started to put

the grease can actually damage the plastic on the bindings—

humbuckers on Strats. So if you’re replacing a pickup, make

and that’s also why you see those old Kluson machine heads

sure that the spacing between the poles matches your strings.

shriveled up. There are all sorts of bizarre things like that!

If the spacing is wrong it will affect the sound and the volume of individual strings.

Is there any work that should be left to the professionals?

But my advice to anyone would be just to try stuff out. I’d say get something like a Squier Strat, be prepared to spend

The Stratocaster is so modular and I think that’s why I was

twice as much again on good parts, but you can end up with

always happy to experiment on them, but also why I was

a much cheaper guitar that will easily match an expensive

reluctant for a long time to do the same thing to a Gibson.

Fender. And you can use it—it’ll be a good workhorse guitar.

That’s why I wouldn’t necessarily use the word

But, again, I am a player, not a collector!

JAIME CAMPBELL Based in Manchester, England, the Creamery was founded by Jaime Campbell, and specializes in the production of custom-built pickups, including a range sized specifically for the Stratocaster. All of Jaime’s pickups are handwound, so each one is unique—rather like those produced in the early days of the Strat. (For the record, we’re particular fans of the Black Cat, Jaime’s take on the Gretsch Filter’Tron.) The Creamery also produces a small range of custom guitars based on classic designs of the 1950s.

The Creamery Black Cat—a Gretsch Filter’Tron-style unit

Tell us a bit about yourself, the Creamery, and the artists

resized for a standard Gibson humbucker

who use your pickups.

sound different, the woods, the hardware, and, of course, the I used to put book bands whilst at University in Glasgow and

pickups. I played guitar but its through setting up and sound

often spent time helping to set up before the gigs. This got me

checking in venues where the real interest in the inner

interested in how the guitar works, what makes each one

workings grew.

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material, the bridge, the saddles—and even though much less so than an acoustic, the actual wood of the guitar has a part to play in the overall sound too, as it will affect the vibrations of the strings. So how would you recommend choosing a pickup?

When working with a guitarist on the right design of pickups for them, first we agree on the actual size and style, and that’s often dependent on the guitar (humbucker-sized pickup or single coils, Strat or Tele). With this in mind I simply ask more about the guitar hardware, the value of the pots and caps, the amplification and backline used—and more importantly I always ask the same two questions: “What sounds are you after? And what styles do you play?” I avoid the using the word “tone” as it clouds the conversation. Of course a player would love to sound like Jimi Hendrix, etc., but what sounds do they really want— Fender’s underrated Wide Range humbucking pickup

sweet or crunchy? Bright or warm? Once you remove the

was designed by Seth Lover, the man who developed

desire to be your favorite guitarist and concentrate on what it

Gibson’s celebrated PAF humbucker.

is about their sound that you like then we can really dig down into the right design and specifications for the custom

I don’t like to publicly name all the bands and artists I

pickups. Ultimately I enjoy making pickups so guitarist can

work with, figuring that 95 percent of any guitar company’s

find their own sound and start playing/writing rather than

customers are simply regular guitar players—whether they be

imitating another player’s “tone.” Pickups help to produce a

at home or in local bands—and to flaunt the “big name”

sound; fingers shape a tone.

artists seems, to me, to be a little arrogant—it’s as though all the other customers don’t matter. When I started out I had a

Have you any specific wiring or modification

top five hit-list of the artists I’d love to make custom pickups

recommendations?

for; I’m at four out of five now, although I don’t think Tom Waits is particularly in the market for new pickups—but I’ll

Simple in/out-of-phase switching, while not great for live

settle with that.

work, really cuts through the mix in recording. Coil splits for humbuckers are always a popular way to increase the array

What makes one pickup different from another? The

of sound available and series/parallel switching for single coils

magnets? The wire? The number of windings?

together can give you a fuller, fatter palate of sounds to choose from.

There really is so much involved in pickup design and the way that it affects the overall sound, whether it be the size,

Is there a “best” way to set up pickup?

shape, height, geometry of the coil, the strength of the magnets, the type of material used in making the covers and

It’s really a personal thing. I’ve spent a lot of time by the side

baseplates, whether the magnets/poles are covered or

of the stage adjusting the pickup heights and even individual

uncovered, whether coils are offset or identical, handwound

pole screws or—in the case of my favorite pickup, the Wide

(scatterwound) or machine wound, wax-potted or not, or if

Range Humbucker—adjusting the height of the individual

thicker or thinner coil wire is used. A pickup—just like a

magnets under each string, which can work in a similar way

guitar—is only the sum of its parts and even then the overall

to each string having its own EQ. There’s a sweet spot which

sound is affected by the value and quality of the volume and

is personal to each player. If the pickup is too close to the

tone pots, the value of the capacitors and the circuit, the nut

strings there will be too much “boom”; too far away and you

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lose clarity and definition. There will, however, be that spot with just the right balance between warmth and brightness, clarity and definition, attack and sustain which is just right. The big brand guitar makers have their own technical guides as to the best height for their models and these are great starting points, but guitarists shouldn’t be afraid of getting their hands dirty and adjusting to find the right sound for them. There’s been something of a vogue for handwound pickups in recent years. Is there any fundamental benefit in using them over their machine-wound equivalents?

Handwound pickups—or to correctly put it, “scatterwound” pickups—can produce a richer sound with more dynamics, but tighter machine-wound coils can often be better for higher-output pickups. A handwound pickup can be a bit

The Creamery Sonic ’60 single-coil pickups—a Strat-sized remake of the classic Burns Tri-Sonic

warmer with a little more mid-range simply by the nature of scatter-winding: whereas this really does make a difference in

brittle sounding pickups used in the guitars synonymous with

lower- or medium-output pickups, high-output designs will

the punk, post-punk, and new wave eras. I also make quite a

have a tendency to focus more on the midrange; this is

few sets voiced for those who love the sound of the early-

naturally due to the increased amount of coil wire, so the

1990s alternative bands.

tighter focus can actually be a benefit here. But I guess the

The big guitar companies have always modified their

biggest advantage of using a handwound pickup is that each

designs to be both cost effective and to suit the times, and its

one can be customized to the requirements of the individual

fascinating to see how often such a simple thing as a Strat

player, the specification modified slightly to suit—a little

pickup has changed over the years—and hearing the effect in

underwound, a little overwound, for example. Generally,

bands and artists of each era. I personally love the late-1960s

though, handwound pickups—when wound well—will be

Strat sets which had a little lower output for a brighter sound,

richer with a more dynamic response and open sound,

and that can often be heard in the dry funk riffs of the early-

ultimately an extended frequency range. (It must be said,

and mid-1970s. But I love the mid-’50s P90, the ’70s Wide

though, that some of the most sought after pickups of all time

Range Humbucker, plus there are other wonderful designs

were machine wound!)

such as the DeArmonds and Dynasonics, the Filter’Trons and Rickenbacker Toaster Tops . . . I could honestly bore you for

In your view, how have pickups evolved over the years? Are the old ones, like the PAFS used on the celebrated

hours on this stuff! With the actual specifications of the pickups, some of the

late-1950s Les Pauls, really that much better than

major brands took cost-cutting steps in the late ’60s and early

everything Gibson has produced since then?

’70s, which meant less coil wire and cheaper ceramic magnets, and that created brighter sounding pickups. There

Well, there were actually some 1970s Gibson humbuckers

were also some much-loved new designs and modifications on

that gave a great sound, slightly lower output but with

existing specs: original T-Top Humbuckers are now highly

stronger magnets for a brighter yet more attacking sound,

sought after; Wide Range Humbuckers were launched by

which made them more focused in their sound. Yamaha

Fender in the early 1970s with a completely different internal

Spinex humbuckers had a great unique character too. It’s

design, and originals now command high prices. Companies

common to chase the late 1950s PAF sound, or the classic

designed higher output pickups to push amps for more

vintage Strats and Teles, as they’re synonymous with the

saturated sounds, and that helped launch the metal genres.

explosion of the guitar as a symbol of youth culture, but there

There’s always been innovation moving things both forward

are a lot of people out there who prefer the brighter more

and in an ever increasing number of directions.

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DATING YOUR GIBSON LES PAUL If at all possible it’s always nice to know the provenance of your guitar. Whether you own a late-1950s Standard or an early twenty-first century Custom it should be possible to work out with a degree of accuracy when and where your guitar came into being. Since some vintage Gibson Les Pauls can now change hands for six-figure sums (and even more for those once used by celebrity players), then being able to accurately date a specific guitar is increasingly important. The process, however, may not be as straightforward as you might imagine.

LOCATION There are only two possible places where a regular Gibson Les Paul could have been built, and once you’ve successfully

the guitar’s appearance or hardware is likely to provide you

attached a date to the guitar you should be able to figure out

with suitable evidence.

quite easily the location. (In fact, some of Gibson’s serial

It should be possible to identify any Les Paul built after

numbers contain this information as part of the “code.”) Any

1975 by using the serial number, which you’ll find stamped

models dated up to 1974 were built at Gibson’s long-standing

into the reverse side of the headstock. Things get a little

factory at 225 Parsons Street, Kalamazoo, Michigan; the vast

trickier for pre-1975 models.

majority of Les Pauls built after 1975 emerged from the company’s new facility at 641 Massman Drive, Nashville,

SERIAL NUMBERS FROM 1953–1961

Tennessee. The Kalamazoo factory remained active until

Gibson devised a new numbering system for the company’s

1983, where, between 1976 and 1979, a luxury, limited-

first solidbody electric—the Les Paul “Goldtop.” It was not,

edition model called The Les Paul was built.

in fact, used on the very first models that were built in 1952,

There are two Gibson Custom Shop locations, one in

some of which had no serial number at all, or had a three

Nashville, which produces solidbodies, and one in Memphis,

digit Factory Order Number (FON) stamped onto the top of

which produces hollow-body electrics and acoustic.

the headstock. The new system was simple—a five- or six-digit code

SECRETS OF THE SERIAL NUMBER

where the first number indicated the year, and the remainder

The first clue to the year in which your guitar was built lies

showed the sequential production code.

in the serial number. Gibson has been in business for over one hundred and twenty years, and over that time there have

CODE

YEAR

a been quite an assortment of different numbering systems in

3

1953

CODE

YEAR

place. Furthermore, some of them are not especially reliable,

4

1954

8

1958

so if you’re trying to date a Les Paul built before 1975 then a

5

1955

9

1959

6

1956

0

1960

7

1957

1

1961

little more detective work may be needed. That said, a serial number when used in conjunction with studying aspects of

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DATING YOUR GIBSON LES PAUL

SERIAL No. DESCRIPTION

195

ONLINE DATING #1

3 1756

1,756th guitar built in 1953

7 10212

10,212th guitar built in 1957

There are a number of useful online sources that

0 22564

22,564th guitar built in 1960

can be used for dating guitars. The Guitar Dater Project enables you to key in the serial number

Serial numbers on solidbody electrics were ink-stamped on

and model of your guitar. If it exists on the

the reverse of the headstock during this time. The six-digit

database it should return the details of your

serial number code appeared on models from the mid-1950s

guitar—the historical inconsistencies of Gibson’s

as the production of electric guitars increased. (Note: this

numbering systems notwithstanding!

serial number system only relates to solidbody electrics—until 1961, hollow-bodies and acoustics continued to use the

www.guitardaterproject.org/gibson.aspx

system that had been in place since 1947.)

SERIAL NUMBER RANGE

YEAR(S)

In 1961 Gibson adopted a new serial numbering system to

330200–332240

1968

cover the entire range of guitars, in which ranges of six-digit

406667–409670

1968

production numbers ran sequentially and were impressed into

500000–500999

1968, 1969

the wood. Unfortunately, Gibson administered the system

501601–501702

1968

poorly, and there have been numerous cases of batches of

501703–502706

1968

503010–503109

1968

503405–520955

1968

model was taken off the production line in 1960, none were

520956–530056

1968

produced using this numbering system until 1968. (Although

530061–530850

1968, 1969

between 1961 and 1963, what we now know as the SG was

530851–530993

1968, 1969

officially a Les Paul.)

530994–539999

1969

540000–540795

1969

540796–545009

1969

558012–567400

1969

580000–580080

1969

If the system Gibson used throughout the 1960s was

580086–580999

1969

haphazard, then the method introduced in 1970 bordered on

600000–600998

1968

random. Guitars were allocated six-digit numbers in no

600000–606090

1969

particular order, and in some instances these were prefixed or

750000–750999

1968, 1969

suffixed by a letter, which, again, seemed to be of no

800000–800999

1968, 1969

801000–812838

1969

812900–819999

1969

SERIAL NUMBERS FROM 1961–1970

numbers being duplicated (sometimes as many as four times) over different years. The good news here for Les Paul owners is that since the

The table on the right lists serial number ranges that Gibson applied to guitars in 1968, 1969, and the early part of 1970. This covers any Les Pauls produced during this period.

SERIAL NUMBERS FROM 1970–1975

meaningful significance. The serial number ranges shown below (and on the next page) indicate the years to which they might relate.

820000–820087

1969

SERIAL NUMBER RANGE

YEAR(S)

824000–824999

1969

000000–099999

1973

828002–847488

1969

100000–199999

1970–1975

847499–858999

1969

200000–299999

1973–1975

895039–896999

1968

300000–399999

1974–1975

897000–898999

1969

400000–499999

1974–1975

899000–899999

1968

500000–599999

1974–1975

900000–901999

1970

600000–699999

1970–1972, 1974–1975

910000–999999

1968

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SERIAL NUMBER RANGE

YEAR(S)

SERIAL NUMBERS FROM 1970–1975 (CONTINUED)

700000–799999

1970–1972

As you can see from these tables, serial number alone will not

800000–899999

1973–1975

900000–999999

1970–1972

Six digits + A

1970

A + six digits

1973–1975

be found hiding within the volume and tone cavity. Flip over

B + six digits

1974–1975

the guitar and remove the four screws that hold the covering

C + six digits

1974–1975

plate in place. (That’s the diamond-shaped cover, not the

D + six digits

1974–1975

smaller circular cover.) Take a look at the potentiometers (see

E + six digits

1974–1975

right). (These are the two pairs of volume and tone controls.)

F + six digits

1974–1975

be sufficient to help you tie down the date—a Les Paul with a serial number of “123456” could have been made in any year from 1970 through 1975! On Les Pauls of this vintage, another indicator of age can

If they haven’t been covered with huge blobs of solder you should be able to see a seven-digit number stamped around the circumference into the back of each one. This is what is known as the “pot code.” Digits one to three indicate the manufacturer; the fourth and fifth tell you the year; the sixth and seventh, the week number. To give an example, the code “1377202” tells you that the potentiometer was manufactured by a company called CTS during the second week of 1972. This doesn’t date the guitar, but it does give you the earliest time the guitar could have been produced. During this period Gibson was not operating at the high output levels of earlier decades, so electrical components were not bought and stocked in the same large quantities. This is likely to mean

Beyond this, the only other options are to use cosmetic

that the guitar is no more than one year past the potentiometer date. Of course, this technique will only work

details or production dates to make a deduction. For

if the potentiometers are the originals installed at the Gibson

example, we know that Les Paul Professionals were only

factory when the guitar was built.

produced until 1971, and the Personal model until 1972.

SERIAL NUMBERS FROM 1975–1977 As of 1975, Gibson seemed to be playing around with some rather uncharacteristic ideas, such as the bolt-on necks and single-coil “blade” pickups of the new Marauder model. Similarly, a new numbering system was introduced briefly

CODE

YEAR

that actually made a degree of

99

1975

sense. On the new eight-digit

00

1976

06

1977

serial number, the first two digits represented the year (see

SERIAL No. DESCRIPTION 70188017

17th guitar produced at Kalamazoo plant on January 18, 1978

80374041

41st guitar produced in Nashville February 6, 1987

004180628

128th guitar produced on February 10, 2008

SERIAL NUMBERS FROM 1977–2013 Gibson’s most enduring system was launched in 1977. An

table), the following six were

eight-digit number, the first and fifth digits represented the

production numbers in the range from 100000 to 199999.

year it was built; the three in between, the day of the year;

Guitars produced during this period are also immediately recognizable, as the serial number, formerly stamped into the

digits six to eight indicated the production sequence number. Having opened a new factory in Nashville, production

headstock, now appeared on a transfer decal beneath he

sequence numbers were also used to denote where guitars

words “MADE IN THE USA.”

were built: 001-499 appeared on instruments built in

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DATING YOUR GIBSON LES PAUL

197

THE REAL THING? From the late-1960s, Gibson lost out significantly to

“We get calls from pawn shops and used music

Japanese manufacturers who were selling cheap

stores every day, and a lot of the guitars that people

copies of their most famous designs—a problem that

ask us about end up being fake Gibsons,” says

was more or less erased when Gibson offered its own

Gibson Customer Service Manager, Jason Davidson.

budget versions as part of the Epiphone range.

“A lot of the counterfeiters are using the standard

That industry was driven by the consumer, who,

eight-digit series. For the most part, it looks real. But

unable to afford a new Gibson, shopped where they

there are some obvious indicators—if it starts with a

were able to buy something they saw as acceptably

five, for instance. We don’t start any eight-digit

similar. A modern phenomenon, however, affecting

serial numbers with a five. Or it might be an eight-

growing number of consumers, is that of fake guitars

digit serial number that indicates it was built on the

being passed off as the real thing. This issue has

seven hundredth day of the year. In a case like that,

grown with the ubiquity of the Internet, where many

we’re clearly dealing with a fake guitar.”

now make their guitar purchases online—an approach

Clearly, if you’re buying new it’s safer to buy from

which is, of course, inherently risky since you never

a reputable dealer—even online. If you’re buying a

truly know what you are getting.

used guitar online, you might request the serial

These fakes, most of which emanate from China,

number and check that it’s at least plausible.

may look superficially quite convincing, and might

Ultimately, though, as with most things in life, if

even be very good instruments, but they won’t be

someone offers you a deal that seems too good to be

genuine Gibsons. More worrying, perhaps, is that

true, then it probably is. If you’re offered a Gibson

many of these fakes will be sold on, thereafter

Les Paul for two-hundred fifty dollars then regardless

contaminating the market.

of what it says on the headstock it won’t be Gibson.

Kalamazoo; 500-999 on guitars built in Nashville. Even after

symbolically, always starting from 1894. The final two digits

the closure of Kalamazoo in 1984, guitars produced in

indicate the month. Thus, “94189810” indicates the fifth

Nashville continued to be numbered in this way until 1989.

guitar from this range produced in October, 1994.

In 2005, this system was updated when a single-digit batch

Another serial number anomaly is the Gibson Les Paul

number was inserted before the sequence number at the end.

Classic. Launched in 1990 as a reproduction of a 1960

The sequence numbers ran from 500 to 699 after which the

sunburst, it was decided to give the guitar the full retro

batch number would be incremented by one, and the

treatment, including in its serial numbering, which goes back

sequence number returned to 500.

to original period, where the first digit represents the last number of the year, and the four (or five) digits that follow

SERIAL NUMBERS 2014 TO DATE

show the production sequence number.

Gibson’s simplest possible system was introduced in 2014. A nine-digit stamped serial number, the first two digits

GIBSON CUSTOM SHOP

indicate the year, the remainder is a sequence number for all

There are separate rules for guitars built at the Custom Shop,

Gibsons produced that year.

where most standard models use a seven-digit serial number beginning with the letters “CS,” followed by the last digit of

EXCEPTIONS TO THE SYSTEM

the year and the four-digit production number. Specials and

Unsurprisingly, there are a number of examples that don’t fit

signature models diverge further, the Les Paul Reissue models

conveniently into any of these numbering systems.

incorporating the original year in the serial number and

Gibson celebrated its anniversary in 1994 and produced a limited number of special Centennial models for many of its

signature guitars starting with the initials of the artist. Due its youth (relative to the rest of the company, at least)

classic designs. These guitars have an eight digit serialization

and the smaller scale of production, records of guitars

system of their own. The first two are always 94; digits three

produced by the Gibson Custom Shop are well maintained,

to six represent the production ranking number, but,

so queries can usually be answered quite easily.

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CHAPTER 6 | APPENDICES

DATING YOUR EPIPHONE LES PAUL The first Epiphone Les Pauls did not appear until 1989. Armed with a knowledge of factory codes, it should be possible to identify the country, month, and year of manufacture, and, in many cases, even the specific factory.

Although Gibson had owned Epiphone since 1958, the various subsequent management regimes had nonetheless maintained them as separate brand identities. After the initial takeover, Gibson continued to develop the existing range of instruments at their own factory in Kalamazoo. It was only toward the end of the 1960s that production of Epiphones gradually shifted to Japan, where the brand began to take on a diffusion identity as Gibson’s budget range. By the early 1980s, the fluctuating dollar/yen rate was making production in Japan increasingly expensive so a decision was taken to

Since then, Epiphone has become one of the most commercially successful brands in the world, producing

build Epiphone guitars in Korea. It was at the end of Gibson’s Norlin-owned era, a period

instruments for beginners and professionals alike. From 2004,

for which the company is widely viewed as having lost its

production was extended to China, Indonesia, and the Czech

way, that both Gibson and Epiphone brands began to

Republic with only the high-end Elitist series built in Japan.

flourish. The buy-out in January 1986 for five million dollars by three Harvard MBAs—Henry Juszkiewicz, Dave

EPIPHONE SERIAL NUMBERS

Berryman, and Gary Zebrowski—saw the beginning of the

Using the serial number printed on the reverse side of the

modern era for Gibson, but while they had largely ignored

Epiphone’s headstock (see above) you should be able to

the Epiphone brand during negotiations, it became clear to

identify dates and locations relating to your guitar. There are

the new management that here was an underdeveloped area

a number of different configurations. In deciphering the codes

of their business with enormous potential.

we’ll use “F” to denote the factory letter or number, “Y” the

The first step was to make the link between the historic Gibson brand name and Epiphone implicit. Just as Fender

year number, “M” the month number, and “S” a sequential production number.

had done with their Squier range, the new 1986 models appeared with “Epiphone by Gibson” on the headstock. Soon

JAPANESE MODELS

afterwards saw the appearance of the first classic Gibson

These are produced in small quantities so no month is

designs, and in 1989 the first ever named Epiphone Les Paul

indicated by the serial number. Models built between 2002

appeared, endorsed by none other than Les Paul himself, who

and 2009 have a six-digit code—FYSSSS; from 2010 a second

asked players unable to afford the real thing why they would

year code was added, making the serial number FYYSSSS.

consider buying a “hunk of junk” when they could “now be assured of having a playable instrument and one that will lead them up the right road.” The message was clear: get one of these for now; aspire to the real thing later.

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F

FACTORY (F = FUJI-GEN; T = TERADA)

Y(Y)

LAST YEAR DIGIT (2 = 2002; 13 = 2013)

SSSS

FOUR-DIGIT PRODUCTION NUMBER

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DATING YOUR EPIPHONE LES PAUL

ONLINE DATING #2

CODE

COUNTRY

B

Czech

Bohemia Musico-Delicia

BW

China

Unspecified

CI

Indonesia

DW

China

Daewon

ED

China

Dongbei

EE

China

Qingdao

F

China

Qingdao

F

Japan

Fuji-Gen

F/FN

Korea

Fine Guitars

FC

China

Global Fine Supply

I

Korea

Saein

on the right you will see how to use these letters to find out

J

Japan

Terada Gakki Seisakusyo

the factory (and country) of manufacture. If your guitar has

K

Korea

Korea Ins.

an eleven-digit code, then the factory code is numerical; take

L

Korea

Leader Musical Instruments

MC

China

Muse

MR

China

Mirr

You may be able to establish the details for your Epiphone Les Paul by entering the serial number on the Guitar Dater Project website.

www.guitardaterproject.org/epiphone.aspx

NON-JAPANESE EPIPHONES Serial numbers for Epiphone Les Paul models built outside of Japan are relatively easy to interpret. There are two distinct styles of serial code that you may encounter. If your Epiphone’s serial number begins with one of two letters, then it has an alphabetical factory code—if you look down the list

the fifth and six digits and look toward the bottom of the list on the right. As ever, there is never total consistency in the way these numbers are applied.

FACTORY

Cort

ALPHABETICAL FACTORY CODE (F/FFY/YYMMSSSS/SSSSS)

O

Korea

Choice

P/R

Korea

Peerless

The factory letter may be one or two letters, the year may be

QG

China

Qingdao

S

Korea

Samick

SI

Indonesia

Samick

SJ

China

SaeJun

SM

Korea

Unspecified Unspecified

one of two digits, the month is two digits, the production sequence code may be four or five digits. If we take serial number S930258273, we can tell that it was built in February 1993 at the Samick factory in Korea, and the production sequence number was 58273.

F/FF

FACTORY LETTERS (SEE RIGHT)

SN

Indonesia

Y/YY

YEAR

T

Japan

Terada Gakki Seisakusyo

MM

MONTH

U

Korea

Unsung-Korea

SSSSS/S

PRODUCTION SEQUENCE

UC

China

Unsung-China

NUMERICAL FACTORY CODE (YYMMFFSSSSS)

X

China

Unspecified

The numerical codes are eleven digits long. The year is two

Z

China

Zaozhuang Sachan

12

China

Daewon or Unsung

12052307556 was made in May 2012 at the Samick factory

13

China

Unspecified

in Indonesia, and the production sequence number was 7556.

15

China

Unspecified

20

China

Daewon/Unsung-China

21

Korea

Unsung-Korea

22

Korea

Unspecified

23

Korea

Samick

digits, the month is two digits, the factory code is two digits, the production sequence code is five digits. Serial number

YY

YEAR

MM

MONTH

FF

FACTORY NUMBER (SEE RIGHT)

SSSSS

PRODUCTION SEQUENCE

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CHAPTER 6 | APPENDICES

RESOURCES Here is a selection of links that should come in when looking at various aspects of your Les Paul. For anything major your first port of call should be the manufacturer—or if you've bought your guitar new then head back to the retailer. If you’re looking for replacement parts such as nuts, fret wire, copper shielding, etc., then the best deals are usually to found using an online auction site.

GIBSON GUITAR CORP. 309 PLUS PARK BLVD. NASHVILLE, TENNESSEE USA

All web addresses require the prefix http://www unless shown

gibson.com

otherwise; all telephone numbers are US unless stated.

615-871-4500

GIBSON RESOURCES

ROBOT TUNING

GIBSON TECH TIPS (PDF Download)

TRONICAL tronical.com

http://www2.gibson.com/Support/Tech-Tips.aspx GIBSON USA OWNER’S MANUAL (PDF Download)

NUTS

http://images.gibson.com/Lifestyle/Support/Files/PDFs/

GRAPHTECH graphtech.com (604-940-5353)

USA_Owners_Manual.pdf GIBSON SCHEMATICS AND MANUALS (PDF Downloads)

PICKUPS

www2.gibson.com/Support/Schematics.aspx

AMALFITANO amalfitanopickups.com (817-917-8707)

GIBSON PICKUP WIRING

KENT ARMSTRONG kentarmstrong.com (800-449-2171)

http://images.gibson.com/Lifestyle/Support/Files/PDFs/

BARE KNUCKLE bareknucklepickups.co.uk

PUPwiring.PDF

BENSON bensoncustom.com (716-207-2641)

GIBSON TECHNICAL SUPPORT (1-800-444-276)

CREAMERY creamery-pickups.co.uk DIMARZIO dimarzio.com (718-981-9286)

INTERNET RETAIL RESOURCES

EMG emgpickups.com (707-525-9941)

EBAY ebay.com

GUITAR FETISH guitarfetish.com

GUMTREE (UK) gumtree.com

IRONGEAR irongear.co.uk

REVERB reverb.com

LINDY FRALIN fralinpickups.com (804-358-2699) FISHMAN fishman.com (978-988-9199)

GENERAL GUITAR PARTS

LEOSOUNDS leosounds.de (208-371-6418)

ALLPARTS allparts.com (713-466-6414; 01494 410050 [UK])

LOLLAR lollarguitars.com (206-463-9838)

GUITAR PARTS USA guitarpartsusa.com (515-306-4800)

MOJO mojopickups.co.uk

STEWART-MacDONALD stewmac.com (800-848-2273)

OX4 ox4pickups.co.uk

WARMOTH warmoth.com (253-845-0403)

PORTER porterpickups.com (208-371-6418) REILANDER CUSTOM GUITAR reilandercustomguitar.com

TUNERS

RIO GRANDE riograndepickups.com (713 957-0470)

GOTOH g-gotoh.com (270-25-3608 [Japan])

SCHECTER GUITAR RESEARCH schecterguitars.com

GRAPHTECH graphtech.com (604-940-5353)

(800.660.6621)

GROVER grotro.com (216-391-1234)

SEYMOUR DUNCAN www.seymourduncan.com (805-964-9610)

KLUSON kluson.com (239-543-3625)

SKATTERBRANE skatterbranepickups.com

PLANET WAVES planetwaves.com

SMITS smitspickups.com (615-390-7181)

SCHALLER schaller-electronic.com

TV JONES tvjones.com (360-779-4002)

SPERZEL sperzel.com (216-281-6868)

VOLTAGE voltageguitarpickups.com

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RESOURCES / CONVERSION

ELECTRICS

ERNIE BALL ernieball.com (800-543-2255)

ALPHA POTENTIOMETERS alphapotentiometers.net

ELIXIR elixirstrings.com (800-367-5533)

BOURNS POTENTIOMETERS bourns.com

GALLI STRINGS gallistrings.com (081 759 00 29 [Italy])

CTS POTENTIOMETERS ctscorp.com

DEAN MARKLEY deanmarkley.com (800-800-1008)

201

ROTOSOUND rotosound.com (01732 450838 [UK])

VIBRATO HARDWARE

THOMASTIK-INFELD VIENNA thomastik-infled.com

BIGSBY bigsby.com (912-748-7070) FLOYD ROSE floydrose.com (732-919-6200)

MISCELLANEOUS

KAHLER kahler.com (702-997-3049)

STEVE CLAYTON EXOTIC GUITAR PICKS steveclayton.com (541-535-4440)

VIBRAMATE vibramate.com (609-466-8160)

JODI HEAD HANDMADE STRAPS

WOOD

jodihead.com (212-995-5116)

LUTHIER’S MERCANTILE lmii.com (800-477-4437) ED ROMAN edroman.com (702-597-0147)

GUITAR VALUATIONS/AUCTIONEERS

TONEWOOD tonewood.com (888-767-9860)

BLUE BOOK bluebookofguitarvalues.com (952-853-1486) BONHAMS bonhams.com (212-644-9001; 0207 447 7447 [UK])

STRINGS

CHRISTIES christies.com (212-636-2000; 0207 839 9060 [UK])

D’ADDARIO daddario.com (631-439-3300)

GRUHN GUITARS gruhn.com (615-256-2033)

DUNLOP jimdunlop.com/products/strings (707-745-2722)

GUITAR GALLERY guitargallery.tv (724-746-9686)

CONVERSION You’re likely to find a degree of inconsistency in

measurements and should be especially useful in

the units of measurement used in different aspects

finding the correct tool. Imperial measurements

of the guitar. These tables will help you when

are shown in their fractions, decimal values, and in

converting between imperial and metric

increments of half-sixty-fourths.

MILLIMETRES 0.1

INCHES

INCHES

HALF-64TH

(DECIMAL)

(FRACTIONS)

MEASURES

MILLIMETRES

INCHES

INCHES

HALF-64TH

(DECIMAL)

(FRACTIONS)

MEASURES

0.004

0.2

0.008

0.5/64

0.5

3.4

0.133

8.5/64

8.5

0.4

0.016

1/64

1

3.6

0.140

9/64

9

0.6

0.024

1.5/64

1.5

3.8

0.148

9.5/64

9.5

0.8

0.031

1/32

2

4.0

0.156

5/32

10

1.0

0.039

2.5/64

2.5

4.2

0.164

10.5/64

10.5

1.2

0.046

3/64

3

4.4

0.172

11/64

11

1.4

0.055

3.5/64

3.5

4.6

0.180

11.5/64

11.5

1.6

0.062

1/16

4

4.8

0.187

3/16

12

1.8

0.070

4.5/64

4.5

5.0

0.195

12.5/64

12.5

2.0

0.078

5/64

5

5.2

0.203

13/64

13

2.2

0.086

5.5/64

5.5

5.4

0.211

13.5/64

13.5

2.4

0.093

3/32

6

5.6

0.219

7/32

14

2.6

0.101

6.5/64

6.5

5.8

0.227

14.5/64

14.5

2.8

0.109

7/64

7

6.0

0.234

15/64

15

3.0

0.117

7.5/64

7.5

6.2

0.243

15.5/64

15.5

3.2

0.125

1/8

8

6.4

0.250

1/4

16

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CHAPTER 6 | APPENDICES

GLOSSARY

FRET BUZZ The sound of a string unintentionally hitting frets further along the fingerboard as it vibrates. Usually a

ACTION The height between the bottom of the strings and

result of fret wear, poor neck relief, or an overly low action.

the top of the frets on the fingerboard. The lower the action the easier it becomes to fret notes; a very low action will

FRET WIRE The material from which guitar frets are made.

cause the string to buzz on the fret.

Available in a wide variety of shapes, widths, and heights. Usually described as “nickel silver,” it’s typically composed of

ACTION GAUGE A luthier’s tool for measuring the height of

80 percent copper and less than 20 percent nickel.

the strings above the frets. GROUND LOOP Sometimes called an “earth loop,” in audio BALL END The end of a guitar string tied around a tiny disc

terms it is when there is more than one ground path between

that secures the string behind the bridge at the tail stop.

two connected electrical items. If these are connected to separate household power outlets where there is a slight

BIGSBY VIBRATO TAILPIECE The first successful design of

voltage difference between the two grounds, a low-level hum

the vibrato arm or whammy bar. Pressing down on the

or buzz may occur.

vibrato lever alters the tension of the strings and hence the pitch of the notes. Invented in the 1940s by Paul Bigsby.

HEADSTOCK The uppermost part of the guitar neck where the nut and tuners (machine heads) that support the strings

BLACK BEAUTY Nickname given to the ebony-finished

are fitted.

Gibson Les Paul Custom, first produced in 1954. HUMBUCKER Twin-coil electronic pickup that produce an BRIDGE A device positioned on the body of the guitar which

interference-free “fat” sound favored by many guitarists.

supports the strings and controls their height above the fingerboard and their length.

LES PAUL (1915–2009) Guitarist and inventor who found fame during the 1940s. One of the pioneers of the solidbody

BULLET END An alternative string design created by Fender,

electric guitar, he also developed the first multitrack tape

where the ball end is replaced by a small cylinder.

recorders. Gibson gave his name to the company’s first solidbody electric guitar, although Paul’s own input may have

BURST A nickname given to the so-called “golden-era” Les

been limited to the tailpiece design. In 1969 he developed the

Paul sunburst-finished Standard models produced between

electronics for the Les Paul Professional model.

1957 and 1960. LOCKING TUNER Tuner (machine head) that locks the string BURSTBUCKER Gibson’s modern-day version of the famous

in place, requiring fewer rotations to tighten, and is thought

PAF humbucking pickup.

to maintain the guitar’s tuning better than standard tuners.

CAPACITOR Component used in on-board guitar circuitry

MINI-HUMBUCKER A twin-coil pickups developed by

to route the high frequencies away from the output to the

Epiphone in the 1950s. When Gibson bought the company in

ground, creating a softer, warmer tone.

1958, existing stock and technology was also acquired. Narrower than a PAF, it senses a shorter string vibration and

CARVE The contour of the top surface of the guitar’s body.

produces a brighter sound. Mini-humbuckers were the stock pickup used on the Les Paul Deluxe model which went into

FEELER GAUGE A fine engineering tool used to measure the

production in 1969.

clearance between two parts; can be used in guitar maintenance to set the action and the neck relief.

MULTIMETER A bench-testing instrument capable of providing different electrical measurements, such as voltage,

FLAME A term used to describe the maple grain on some

current, and resistance. Useful to guitarists for testing

sunburst-finished Les Pauls.

components and checking connections.

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GLOSSARY

NECK RELIEF The straightness of the guitar neck when

SCRATCHPLATE A plastic plate fitted to the soundboard to

viewed from the side, which is controlled by the truss rod. A

protect the guitar body. The Les Paul uses a “floating”

very slight relief, or “upbow,” is desirable; “back-bow,”

scratchplate; many guitarists in the past have chosen to

where the neck bends so the headstock drops down, will

remove it altogether.

203

make the guitar almost impossible to play. SCREENING A metal shield connected to the ground NUT The string supports positioned at the top of the

surrounding sensitive unbalanced parts of the guitar circuit,

fingerboard. On Gibson Les Pauls they have generally been

necessary to remove interference.

cut from bone, man-made materials such as Corian, or in a few cases, brass.

SHIELDING The creation of a partial “Faraday Cage” within the cavities in which the guitar’s electrics are fitted, to reduce

P-90 Single-coil pickup introduced in 1946 and used on the

buzzing and other interference. Usually achieved by using

first generation of Les Paul models until 1957. The P-90 is

copper foil tape or conductive paint.

still in production. SOLDER A fusible metal alloy with a low melting point used PAF The first humbucking pickup created by Gibson and

to join together parts of an electrical circuit.

used on Les Pauls and many of the company’s electric guitars from 1957. The “Patent Applied For” pickup was developed

STRING WINDER Mechanical device that mat be fitted over

in 1955 by Seth Lover as a replacement for the P-90.

the tuning pegs to speed up the stringing process.

Although production of the original PAF ended in 1975, demand from musicians ensured that numerous equivalents

TAILPIECE Separate part of the Les Paul bridge through

would continue to be produced by Gibson and other

which the strings are threaded.

companies. TINNING The application of heated solder to a wire or PHASE The effect of reversing the polarity of a DC circuit. In

component before a connection is made.

a guitar, this “reversal” takes place when two pickups of differing polarities are connected simultaneously. This results

TRUSS ROD Metal rod that passes beneath the full length of

in a reduction in bass frequencies.

the neck beneath the fingerboard to reinforce the neck against string tension and control neck relief.

PICKUPS Electro-magnetic transducers that convert string vibrations into electrical impulses. When amplified,

TUNE-O-MATIC Gibson bridge designed by company

this enables the original sound to be heard through a

president Ted McCarty and used on all Les Pauls from 1954,

loudspeaker system.

enabling total control of each individual saddle.

POTENTIOMETER See Resistor

TUNER Set of geared devices mounted on the headstock which control the tension—and hence pitch—of a string.

RADIUS GAUGE A luthier’s tool for measuring the camber

Usually called machine heads in Europe.

of the fretboard and for adjusting the individual bridge saddles to match.

VIBRATO Bridge mechanism that enables string tension to be temporarily altered by manipulating an attached metal arm.

RESISTOR An electrical component that restricts the flow of

Original Les Pauls were not fitted with vibratos, but attaching

electricity within a circuit. Variable resistors (potentiometers)

a Bigsby was a popular modification. Some modern Gibson

are used for a guitar’s volume and tones controls.

and Epiphone Les Pauls are factory fitted with Floyd Rose locking units.

SADDLE The part of the bridge on which the string rests. On the Les Paul’s Tune-O-Matic bridge unit, each saddle is

WRAP-OVER BRIDGE Combined bridge and tailstop used on

adjustable for length and height.

early Les Pauls, preceding the Tune-o-matic.

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CHAPTER 6 | APPENDICES

INDEX A 3-In-One oil 71 3M Finesse-It 109 ABR-1 bridge 50, 57, 94, 95 Acoustic 150 head 171 Adams, Chris 100 Adjustable nut 92 Aerosmith 175 Air travel 79 Air-O-Swiss humidifier 77 Akkerman, Jan 162 Alder 33, 75 Allman, Duane 14, 47, 162–63 Allman, Greg 163 Alnico magnets 19, 35 Aluminum case 74–75 Ampeg amplification 176 Antinode 34 Apple iPad 54, 61 Ash 7, 12, 33, 75 Auto feeler gauge 39, 58

B B’z 172 Bach, J. S. 169 Back Street Crawler 172 Bad Company 172, 187 Baldwin 15 Barber, Jim 184, 187–191 Bare Knuckle pickups 139 Bartolini pickups 139 Basswood 33 Beatles, The 29 Beck, Bogart, and Appice 164 Beck, Jeff 6, 14, 31, 47, 164–65 184, 187–89 Behlen naptha 66 Behringer CT100 72 Benedetto pickups 139 Berklee School of Music 167 Berryman, David 15 Betts, Dickey 163 Bigsby 49, 104-107, 181, 190 Vibrato 49 Bill Lawrence pickups 139 Black Cat Bones 172 Black Sabbath 180 Bloomfield, Mike 14, 15, 47, 79, 164 Bluesbreakers 14, 166, 179 Bolt-on neck 28, 84 Bonamassa, Joe 47, 165 Bone nut 90 Bonham, John 174

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Boss pedals 177 Bourne potentiometers 121 Bowie, David 177 Brainbox 162 Breadboard 131 Bridge adjustment 45, 58 Bryant, Jimmy 12 Burns Tri-Sonic pickups 193

C Campbell, Jaime 184, 191–93 Capacitors 27, 115, 120–21, 128 Black Beaty 121 Bumblebee 121 ceramic disc 128 Grey Tiger 121 replacement 130–31 Orange Drop 121 polarity 129 Silver mica 129 Capo 83 Carlton, Larry 172 Chicago 171 Christian, Charlie 12, 30 Clamp 39, 85 Clapton, Eric 6, 14, 31, 47, 163–66 172, 179, 184–85, 187 Clarke, Stanley 167 Cleaning body 66, 68, 71 electrics 72 fingerboard 67–68, 71 hardware 66–68, 71 neck 68 potentiometers 119 strings 67 switches 119 Coils 62 splitting 138, 140–41 switching 141 tapping 138 Colosseum II 173 Coltrane, John 169 Compensated wrapover bridge 51, 56 Concert Pitch 32 Contact spray 72 Cooder, Ry 187 Copper foil 154 Corea, Chick 167 Corian 90 Cosmetics 108 Cover plates 116 Covered pickups 138

(Text)

Cream 166, 184 Creamery, The 184, 192 Crosby, Bing 12, 175 Crown 88 CTS 126 Curtis, King 162

D D’Addario 46, 54, 70 Guitar rest 76 Dan Armstrong Orange Squeezer 177 Danish oil 109 Dantzig, Jol 98 Davies, Dave 167 Davis, Miles 167, 173 DeArmond pickups 193 Derrig, Kris 178 Di Miola, Al 167 Dielectric 121 DiMarzio pickups 139, 168, 188 Dual Sound 24, 180 Super Distortion 8, 167, 189 Dixon, Willie 14 Dog ears 30 Dremel 38, 71 Dressing frets 86–87 Dunlop 65, 88 6105 fret wire 88 6130 fret wire 88 6150 fret wire 88 Straplok 65 Dylan, Bob 14, 79, 164, 177 Dynasonic pickups 193

E Eagle Mountain 65 Ebony 13, 19 Ebtech Hum X 155 ECL 15, 16 Electro-Harmonix Debugger 159 Electromagnetic interference 154 Electronic tuner 39, 40, 54 Elpico amplification 167 EMG pickups 25 70-7 active 25 81/81-7 active pickup 25 85 active pickup 25 End nippers 88, 89 Epiphone 7, 8, 15, 29, 175 Casino 29 Crestwood 29 Deluxe 29 Electar 29

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INDEX

Electrophone 29 Emperor 29 Les Paul 16, 187 Les Paul LP-100 28 Les Paul Matt Heafey Signature 25 Les Paul Ultra-III 151 serial numbers 198–99 takeover 17 Wilshire 29 wiring 118 Ernie Ball 46 Superlock 65

F Farad 128 Faraday, Michael 34, 128 Feedback 12 Feeler gauge 39, 58, 84 Fender 7, 15, 29, 46, 49, 139 amplification 162, 165 Bajo Sexto 8 Broadcaster 6, 12 Custom Shop 8 Dual Showman 176 Esquire 164 Hot Noiseless pickups 154 Strap Lock 65 Stratocaster 6, 164, 166, 180, 188 Telecaster 6, 7, 8, 12, 13, 14, 164, 165, 171, 176, 187 Wide Range pickups 192 Fender, Leo 6, 12 Fernandes 189 Fingerboard 43, 69, 70 conditioning 70 cleaning 69, 70 twist 43 Finishing 108-9 Fishman 150–151, 190 Powerbridge 150–151 Triple Play 190 Fleetwood Mac 170, 173 Floating bridge 52, 53 Floyd Rose 52, 53, 56, 59, 61, 98, 104, 157, 189-90 Focus 162 Ford, Mary 12, 14, 175 Frampton, Peter 168 Franklin Loctite 91 Franklin, Aretha 162 Free 172, 187 Free jazz 177 Frehley, Ace 47, 168

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Frequency 32 Frets 44 dressing 86–88 replacement 88–89 template 86 Fripp, Robert 47, 169 Frippertronics 169 Fundamental 32, 34

G Gabriel, Peter 184 Gaffer tape 40 Gear ratio 97 Gibbons, Billy 51 Gibson 6, 8, 11, 14, 43, 103, 139, 154 ’57 Classic pickup 31 490R humbucker 24, 31 498T humbucker 24, 31 Bumblebee 121 Burstbucker pickup 31, 35 Custom Shop 15 Deluxe tuner 48, 96 Dirty Fingers pickup 31 ES-150 12, 30 ES-175 18 ES-295 18 Firebird 181 Flying V 167 G-Force 100 GA-40 171 Hex bar pickup 30 Les Paul ’60s Corvette 16 All Wood 28 Artisan 17, 167 Axcess 53 Bass 17 Custom 13, 17, 19, 50, 162, 168–69, 172–73, 175–77, 179, 180, 185, 189 Deluxe 15, 18, 24, 31, 180 Dusk Tiger 17 Goldtop 12–14, 16, 18, 163 165, 167, 171, 179, 181, 185–87 Heritage Standard 80 16 Junior 13, 17, 61, 120, 186 Junior Doublecut 16, 20 Old Hickory 17 Personal 17 Professional 17, 171 Recording 17, 175

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Robot 17, 24 SG 16 Signature 17, 22 Slash Appetite 178 Special 17 Spotlight Special 16 Standard 14–17, 170, 172–74, 176, 178, 179 Studio 16 Studio Baritone 17 Studio Pro 44, 49, 82 Supreme 17 TV 17, 19 Ultima 17 Maestroi Vibrola 188 Marauder 28 Min-Etune 100 Mini-humbucker 15, 19, 24, 30 Pump polish 68 QuickConnect 118 Robot Guitar 16, 24, 100 serial numbers 194–97 SG 6, 14, 29, 167, 171, 180 T-Top humbucker 30 truss rod key 82 standard wiring 132–33 vintage wiring 132–33 Gig bag 74–75 Giles, Giles, and Fripp 169 Glam rock 168 Gomez, Samuel 109 Graph Tech 90–91, 190 Graphite 90, 93 Green, Peter 14, 47, 165, 170, 173, 179 Gregory, Dave 184–87 Gretsch 75 Filter’Tron pickup 162, 192 Grover 15, 21, 22, 23, 24 Imperial 23 Rotomatic 19, 49, 96–97 Guns N’ Roses 178

H Hamer 98 Hamerlock 98 Hard-shell case 74 Harmonic Modes 34 Harmonics 42, 59 Harmony Meteor 167 Harrison, George 29 Heat sink 113, 128 Heil Talk Box 168

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206

Hendrix, Jimi 162, 166, 171 Hercules Tri-Stand 75 Herd, the 168 Hex keys 38, 40, 58 Hexaphonic pickups 152 Hiwatt amplification 176 Horseshoe magnet pickup 29 Hour Glass 162 Howlin’ Wolf 179 Hoyland, Steve 189 Hum 8, 154 Humble Pie 168 Humbucker 13, 17, 19, 20, 120 switching 138–43 Humidity 74–75, 77 Hygrometer 77

I Inaba, Koshi 172 Intonation 42, 59–60

J Jackson 139 Jagger, Mick 179, 187 Jones, John Paul 174 Juskiewicz, Henry E. 15, 185

K Kath, Terry 171 Kent Armstrong pickups 139 Killpot 25, 144–45 King Crimson 169 King, Albert 171 King, B. B. 171 King, Freddie 171 Kinks, The 167, 174 Kirke, Simon 172 Kiss 168 Kluson 15, 18–22, 48, 98 3-on-a-plate 19 convert to Grovers 97 Deluxe 96 Waffleback 96 Knobs 121 Kossoff, Paul 14, 47, 165, 172, 190 Kramer 15

L Law of Induction 34 Led Zeppelin 7, 146, 173–74 Lee, Jake E. 180 Lemon oil 39, 70 Lennon, John 29 Les Paul “Log” 12, 16, 175 Lindy Fralin 139. 187 Linear potentiometer 120

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Loar, Lloyd 34 Locking straps 64–65 Locking tuners 98 Loctite Naval Jelly 71 Logarithmic potentiometer 120 Lollar pickups 139 Lover, Seth 13, 30, 35

M Mahavishnu Orchestra 173 Mahogany 7, 13, 18–25, 33 Malmsteen, Yngwie 167 Maple 33 Marlow, Steve 108–9 Marshall amplification 162–3, 165, 167, 172–73, 185–87 JCM800 177, 180 JTM45 164, 166, 179 Major 177 Stack 6, 14 Supa Fuzz 164 Matchless amplification 186 Matsumoto, Tak 172 May, Brian 7 Mayall, John 14, 166, 170, 172, 179 McCartney, Paul 29 McCarty, Ted 18 McHugh, Thaddeus 43 McLaughlin, John 47, 173 Meguiars 109 Mellotron 169 Metal film capacitor 128–29 MIDI 152 Mini-humbucker 167, 181 Moore, Gary 47, 173 Mott the Hoople 177 Multimeter 39, 115 MXR 159, 177 Distortion + 177 Smartgate 159

N Nail clippers 40 Nail polish 109 Naptha 39, 66–7, 71 Nashville bridge 50–51, 57, 94, 95 Neck 42, 84 relief 8, 43–4, 82 twist 43, 71 Needle files 38 New Standard Tuning 47, 169 Nitrocellulose 42 Norlin 15, 16, 18, 33, 185 Notched gauge 57 Notching saddle 95

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Nut 27, 45 cutting from bone 92 replacement 91–93

O Obama, President Barack 79 “Old Black” 181 Osbourne, Ozzy 180 Out-of-phase wiring 143 Output socket 45 replace 122–23

P P-90 pickup 13, 14, 16, 18, 19, 20, 30, 35, 120, 171 conversion 136–37 PAF pickup 13, 17, 19, 20, 30, 35, 187 Page, Jimmy 7, 8, 14, 15, 23, 31, 47, 100, 138, 146–149, 173–74, 179, 187, 190 Paintwork 108 Parallel wiring 138 Paul, Les 9, 12, 13, 14, 18 57, 175 Peavey 139 Perry, Joe 41, 47, 175 Perspex 8 Petroleum jelly 96 Petrucci, John 167 Phasing 138 Pickett, Wilson 162 Pickguard 26 Pickup selector switch 45 Pickups 62–63 adjustment 45 Bare Knuckle 139 Bartolini 139 Benedetto 139 Bill Lawrence 139 covered 138 DiMarzio 139 Fender 139 Gibson 139 height 62, 63 Jackson 139 Kent Armstrong 139 Lindy Fralin 139 Lollar 139 Peavey 139 piezo 150–151 Seymour Duncan 139 swapping 134–137 Tom Anderson 139 Piezzo bridge 100 Pigtronix Gate Keeper 159

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INDEX

Planet Waves 65, 76 Plant, Robert 174 Plek 41 Pole piece adjustment 62, 63 Polsfuss, Lester William 175 Poteniometer 27, 120 cleaning 119 killpot 144–45 linear 120 logarithmic 120 push-pull 139 replace 124,125 taper graph 120 Printed Circuit Board 118 Pro Co RAT 177

Q Queen 7 QuickConnect 118, 135

R Radius gauge 38, 57, 62, 89 Razor saw 38 Reinhardt, Django 175 Relief 43–4 Return To Forever 167 Revox tape recorder 169 Rhoads, Randy 180 Richards, Keith 6, 176, 179, 184, 187 Rickenbacker 29, 180 Ritchlite 33 Robot tuners 100–103 Rodgers, Paul 187 Rogan, Alan 180 Roland 103, 152 GK-2A 152, GR-55 153 MIDI pickup 190 RE-501 Chorus Echo 177 Rolling Stones, The 14, 164, 169, 174, 176, 179, 184,187 Ronson, Mick 177 Ronsonol 66 Rosewood 18–22, 33 Rotary tool 38 Rundgren, Todd 186 Rush, Otis 162

S Saddle 95 Sambora, Richie 167 Schaller 64–65, 98 M6 98 Security Lock system 64–5 Schecter 188 Serial numbering 194–199

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Series wiring 138 Series/Parallel wiring 142 Set neck 28, 84 Seymour Duncan 139, 187–88 Sharrock, Sonny 177 Shielding 154–9 Shim 85 Silver mica 129 Skid Row 173 Slash 47, 178 Sleeving 129 Slingerland 15 Smyma, Ottoman Empire 29 Sola Sound Tone Bender 164, 177 Soldering iron 9, 39–40, 112–14 Speed knobs 121 Sprague 121 Black Beauty 121 Bumblebee 121 Orange Drop 121 Squier Stratocaster 191 Stainless steel strings 46 Stathopoulo, Anastasios 29 Stathopoulo, Epaminondas “Epi” 29 Steel wool 39, 68–71 Steinberger 15 Stewart, Ian 179 Storage 74–78 Strap 26, 64–65 Stringing 8, 48, 50, 52, 53, 107 Strings 27, 40, 46 String winder 39 Sumlin, Hubert 179 Switches 26 cleaning 119 replacing 126–27

T T Rex Fuel Tank 155 T-Top humbuckers 193 Tailpiece 26, 51 Tapered reamer tool 97 Taylor, Mick 176–9 Test tone 54 Thin Lizzy 173 Tinning 113 Titebond 39 Tom Anderson pickups 139 Tone control 45 Tong 88 Top Twenty “Stratocaster” 188 Townshend, Pete 14, 31, 180 Transportation 79 Trapeze bridge 13, 50, 56–7, 61 Tronical 99–100, 102 Tru-oil 109

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Truss rod 82 adjustment 82 key 82 Tune-o-matic 16, 18–26, 49–51, 56–61, 94–5, 188 Tuners 8, 27, 45, 96 changing 96 gear ratio 97 replacement 98–100, 102–103 Tung oil 109 Tuning 54–5 TUSQ 90–91 Tweezers 38 Twin-coil pickups 13, 31 Tyler, Steven 175

V Van Leer, Thijs 162 Velvet Revolver 178 Vibramate V7 106 Volume control 45 Vox amplification 176 AC30 167, 185

W Walsh, Joe 174 WD-40 67 Who, The 14, 174 Williams, Hank 181 Williams, Tony 173 Wilson, Steve 184 Wimbish, Doug 189 Winwood, Steve 166 Wire cutters 38, 40 Wiring standard 132–33 vintage 132–33 Witch-hat knobs 121 Wrapover bridge 18, 56–7, 61 Wurlitzer 15 Wylde, Zakk 6, 7, 25, 41, 47, 51, 180–81

X XTC 184–85

Y Yardbirds, The 166, 174 Young, Neil 181 Young’s Modulus of Elasticity 47

Z Zamak 25 Zappa, Frank 173 Zebrowski, Gary 15 Zippo 66

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CHAPTER 6 | APPENDICES

ACKNOWLEDGMENTS PICTURE CREDITS were specially photographed for the Orgone Company by

THE AUTHOR WOULD LIKE TO THANK

Paul Smith.

Jim Barber for all of his

Unless otherwise stated below, all images within this book

help and six-string 4 Outline Press Ltd. 5 Outline Press Ltd. 7 Bradford James;

advice over the years;

Marshall Amplification 8 Terry Burrows; SJ & JSJ Deg

Todd Berger and

9 Gibson Guitar Corp.; Outline Press Ltd. 12 Martin James

everybody else at Voyageur Press; Louis Burrows for hand

Ads 13 Getty Images; Quintessence Editions Ltd; Outline

modeling duties and emergency additional photography; the

Press Ltd 14 Martin James Ads 15 Martin James Ads

Creamery’s Jaime Campbell, purveyor of fine handwound

16 Howard Dale 17 Howard Dale 18 Quintessence Editions

pickups; Elaine Smith at D’Addario UK Ltd.; Gibson Guitar

Ltd.; 19 Quintessence Editions Ltd.; Outline Press Ltd.

Corp.; Dave Gregory; Martin Howells for loan of guitars;

20 Quintessence Editions Ltd. 21 Outline Press Ltd.;

Jane Laing for her expertise in all matters editorial; Steven

Quintessence Editions Ltd. 22 Outline Press Ltd.; Outline

Marlow; Nigel Osborne for access to his photographic

Press Ltd. 23 Outline Press Ltd.; Outline Press Ltd.

archive; Denis Pernu; Planet Waves; Roland (UK); Paul Smith

24 Outline Press Ltd.; Gibson Guitar Corp. 25 Outline

for his fine bespoke photography.

Press Ltd.; Gibson Guitar Corp. 29 Gibson Guitar Corp. 32 Ahmed Ali 38 Robert Bosch GmbH 51 Jarret Ovek;

This book is dedicated to the memory of my old friend Ralph

Quintessence Editions Ltd. 56 Terry Burrows; Quintessence

Denyer, author of The Guitar Handbook—the 1991 revised

Editions Ltd. 61 Quintessence Editions Ltd.; Terry Burrows

version on which I cut my teeth as a rookie editor. He was a

69 Behlen Inc. 72 Behringer GmbH 77 Humidifier Store

top fellow. And, like all of the music books I've written, it’s

100 Gibson Guitar Corp. 108 Steven Marlow 138 Seymour

also dedicated to the memory of my dad, Ron Burrows, who

Duncan 150 Fishman 151 Gibson Guitar Corp. 153 Roland

helped me build my first guitars as a teenager. (And there, as

UK 155 Ebtech 159 Electro-Harmonix 163 Getty Images

promised, is “The Poser”!)

165 Getty Images 166 Getty Images 169 Getty Images 170 Getty Images 174 Getty Images 176 Getty Images 178 Getty Images 181 Getty Images 184 Quintessence Editions Ltd. 186 Yvonne Wootton; Quintessence Editions Ltd. 187 Jim Barber 188 Jim Barber 189 Jim Barber 190 Jim Barber 192 Fender Music Instruments GBI 193 The Creamery 196 Terry Burrows 200 Gibson Guitar Corp. 208 Robert Wilding

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