GIBSON

GIBSON ELECTRICS, THE CLASSIC YEARS. A.R. Duchossoir.

AN ILLUSTRATED HISTORY FROM THE MID-'30s TO THE MID-'60s

Gibson Electrics - The Classic Years
Series: Book
Publisher: Hal Leonard
Format: Softcover
Author: A.R. Duchossoir

Since the inception of the first “electrical” guitars in the 1920s, no other manufacturer has produced a greater variety of professional quality models than Gibson. This book presents a documented account of the instruments released during a highly creative period from the 1930s up to the mid-60s, which saw the coming of age of the electric guitar. It describes all the models that have made history and contributed to establishing the reputation of Gibson. This edition features over 500 illustrations, including 100 in color, and previously unpublished material.

Inventory #HL 00330392
ISBN: 9780793592104
UPC: 073999647426
Width: 9.0"
Length: 12.0"
256 pages

FOREWORD
The original GIBSONEL ECTRICS, subtitled Volume 1, was first published in late 1981 and for the past 10 years or so I have often been asked when Volume 2 would be released. I effectively started writing it back in 1982, but Volume 2 never saw the light of day for reasons outside my control.
Subsequently, I penned other books and I probably managed to improve my primitive writing skills and also the way to look back at "old guitars". As time went by, it became more and more obvious to me that the original GE could be upgraded in several respects. Digging through my files, I realized that I had gathered a lot of material during my several trips to Kalamazoo which had not been fully exploited in what was the ex-Volume 1. Eventually, I ended up disliking this book profoundly, and last year I formed the project not only to rewrite it, but also to expand it.
At this juncture, I briefly pondered what period to cover? Should I attempt to consolidate vol. 1 & 2 in a single offering? With the benefit of hindsight - read the 10 years elapsed since the aborted publication of Volume 2 – it occurred to me that the truly meaningful electrics, the "classics", were those designed prior to 1965. This does not mean that nothing happened at Gibson afterwards, but the fact is that the pre-65 designs are still the most popular today, and the most influential. Admittedly, other cut-off points were a possibility. For instance: 1969, the year of Gibson's Diamond Jubilee, and also the year of the amicable take-over of Chicago Musical Instruments (Gibson's parent) by ECLwhich led to the formation of NORLIN.Or 1984, the year when the Kalamazoo factory was closed down and the production was definitively consolidated in Nashville. Even 1985, the year when NORLINended its involvement in the music business by selling Gibson after reporting losses of $158m over the previous 10 years!
Fortunately, Gibson did not go under and it was acquired by the able hands of Henry ]USZKIEWICZand a group of investors who managed to put it back on the right track. I took the view that the mid-60s were retrospectively a major turning point not just for Gibson, but for the guitar industry as a whole. Beyond designs, 1965 signalled the beginning of a new era for most US guitar makers. Equally, it is often overlooked that 1965 was the year when the production of Gibson instruments reached an all-time peak in the wake of the 1st "guitar boom". Last but not least, 1965 is the year when Ted McCARlY tendered his resignation as Gibson president after acquiring Paul BIGSBY'sbusiness.
The new GIBSON ELECTRICS,subtitled "THE CLASSICYEARS", consequently spans from the beginnings of the electric guitar until the mid-60s. For a better display of information, I reckoned it would be appropriate to split the historical recap from the specifications of production electrics - Spanish guitars and basses - cataloged during this period. This book is therefore divided in two main parts, with a third leg detailing what I call identification numbers.
The latter are quite useful for assessing the vintage of an instrument and Part Three features previously unpublished material. In other words, the new edition practically incorporates three books into one (for the same price!). Many people have contributed, yesterday and today, to the making of the new GE. Being domiciled in Paris, I wish to stress that this research has been greatly facilitated over the years by the kind cooperation of many friends and guitar aficionados in the USA.I hope the list of acknowledgements does justice to all of them, even though their input may date back many years.
A special mention goes to all the Gibson people, past and present, who always have been very receptive to my quest for information. Conversations with old-timers like Ted McCARlY,Walter FULLER,Seth LOVER,Wilbur MARKER, Julius BELLSON,or with early electric pioneer Alvino REYhave been invaluable to enlighten the chapters of Part One and give them a human dimension beyond facts and figures.
I am particularly appreciative of the active contribution of a few key individuals who have helped me to complete this project in a relatively short time. These are John SPRUNG(and his wife Jenny for tolerating a rather hectic family life over the past 6 months), Jim COLCLASURE, Walter CARTER,George GRUHNand my wife Susan. I also want to thank people like Gil SOUTHWORTHand Brian FISCHERfor giving me access to their impressive collection of Gibson electrics. Finally, my gratitude goes to HALLEONARDfor allowing me to turn an old book into a brand new one. At the time of closing this long foreword, I can't help but think of my father who passed away since I wrote the first GE, and without whom I might never have known Gibson guitars. This one's for you, dad. A.R. DUCHOSSOIR Ma 1993

THE DEVELOPMENT OF ELECTRICS UP TO THE MID-60s INTRODUCTION
Who invented the electric guitar? However straightforward this question may be, it does not usually suggest one instant answer as several pioneers -some known, some unknown- may claim an input into its development. Historically, the earliest attempts to electrify an instrument can be traced back to the 1890s, but they can hardly be construed as the first steps towards the electric guitar as we know it today. For instance, one W.H. GILMAN secured patent #488,520 on December 20, 1892 for an 'Electrically Operated Stringed Music Instrument' which actually encompassed an electrically-actuated automatic banjo. It was not until the 1920s that the electric guitar began to take shape in the light of scientific advances in sound amplification and amplifier circuitry.
Why the electric guitar came into being is an easier question to answer. Owing to its intrinsic lack of volume and carrying power, the traditional acoustic guitar was more often than not relegated to the rhythm section in most bands up to the 1930s. With the notable exceptions of classical pieces or purely stringed- instrument ensembles, the guitar did not become a recognized solo voice in its own right until it was amplified. The growing popularity of dance music thus led guitarists to seek ways to be heard over the sound of brass and reed instruments, let alone drums. The need for more power brought about developments such John DOPYERA'stesophonic guitar with its internal spunmetal resonator and triggered a significant enlargement of body dimensions. It also explains why the banjo, because of its bright and cutting sound, was often preferred to the guitar in early jazz oups. Besides this extra power to vie with other instruments in orchestras, providing a greater tone consistency is also cited a factor behind the early research carried out to electrify the guitar. By all accounts, this was part of the rationale followed by lloyd LOARin the early 1920s. lloyd A. WAR (1886-1943) was a multi-talented personality: musician, composer, teacher, mandolin performer, physics engineer and researcher. In June 1919 he came to work for the GffiSO MANDOLIN-GUITARMfg. Co., Ltd. where he took over e eral positions as acoustic engineer, factory production manager, manager of the stringed instrument repair department and purchasing agent. Today, Loar is best remembered for his role in the development of the Master series, ie the L-5 guitar, the F-5 mandolin, the H-5 mandola, the K-5 mando-cello and the Mastertone banjo construction. On top of his contribution to some of Gibson's finest stringed acoustic instruments ever made, Loar designed experimental electrics during his 5-year stint with the company. His meticulous approach to acoustic physics and instrument playability apparently led him to believe that the only way to produce instruments with tonal consistency was to electrify them. In the early 20s, his views were favourably considered by Lewis A. WILLIAMSwho was one of the founders and major stockholders of the Gibson company, and its secretary and general manager at the time. Williams was also a pioneer in the field of loudspeakers and sound reproduction. He is thus credited with several innovations in instrument design such as the elevated fretboard and pickguard, while being a central figure behind the Master series. This explains why Williams brought in Loar at Gibson and supported his efforts in the development of modern stringed instruments. But differences of opinion within the company as to Gibson's product focus and marketing strategy brought about a reshuffle at management level. It can be argued that electrical instruments were certainly part of the discussions which took place. Loar's (and Williams') conceptions were probably ahead of their time but deemed insufficiently marketable by the riskaverse board of directors chaired by the venerable John . ADAMS. They were consequently relegated to a back seat in favour of less adventurous designs. This boardroom row led 1. A. Williams and C. V. Buttelman, then sales and advertising manager, to resign at the end of 1923. Lewis Williams was briefly replaced by someone called FERRIS, before the position of general manager was entrusted to a newly hired accountant named Guy HART. Lloyd Loar soldiered on for about a year after Williams' departure, but he did not get along too well with his new general manager. Their lack of entente prompted the termination of Loar's contract at the end of 1924. Eventually, both Loar and Williams joined forces in their post-Gibson days and went on to form together the ACOUSTI-LECTRIC Company in January 1934 (later renamed the VIVI-TONECompany in February 1936). The earliest Gibson electric instruments were reportedly perfected by 1924 and then shown to some of the compan agents who at that time were mostly artists and teacher. However, these agents were not ready yet, musically and otherwise, to accept such a radically novel concept for which no music was specifically written. In the face of a negative reaction from its prime sales force, the new management of Gibson then resolved not to go ahead with the experimental electrics.

CONTENTS
FOREWORD .
ACKNOWLEDGEMENTS .

PART ONE: THE DEVELOPMENT OF ELECTRICS UP TO THE MID-60s .
INTRODUCTION: Who invented the electric guitar? .
CHAPTER 1: The first production electrics (1935-1939) .
CHAPTER 2: The second wave of pre-war electrics (1940-1942) .
CHAPTER 3: The early post-war era (1946-1948) .
CHAPTER 4: The apogee of the amplified guitar (1948-1951) .
CHAPTER 5: The first solid body electric (1951-1952) .
CHAPTER 6: The expansion of the electric line (1953-1955) .
CHAPTER 7: The first thinline electrics (1955-1957) .
CHAPTER 8: The advent of the humbucking pickup (1955-1957) .
CHAPTER 9: The Modernistic Guitars (1957-1959) .
CHAPTER 10: The double cutaway thinline electrics (1958-1960) .
CHAPTER 11: The inception of restyled solid bodies (1958-1963) .
CHAPTER 12: The hollow body Artist models (1960-1965) .
CHAPTER 13: The original Firebird series (1963-1965) .
EPILOGUE: The end of an era .
CHAPTER NOTES .
COLOUR SECTION: 30 YEARS OF GIBSON ELECTRICS .

PART TWO: THE PRODUCTION ELECTRICS UP TO THE MID-60s .
INTRODUCTION .
CHAPTER 1: The pre-war electrics (1936-1942) .
CHAPTER 2: The post-war full body electrics (1946-1965) .
CHAPTER 3: The solid body electrics (1952-1965) .
CHAPTER 4: The thinline electrics (1955-1965) .

PART THREE: THE IDENTIFICATION NUMBERS UP TO THE MID-60s .
INTRODUCTION .
CHAPTER 1: Factory-order numbers (1936-1961) .
CHAPTER 2: Serial numbers (1936-1961) .
CHAPTER 3: Serial numbers (1961-1965) .
INDEX . 

MILLION DOLLAR LES PAUL, In Search of the Most Valuable Guitar in the World. Tony Bacon. 288 pagine.

Series: Book
Publisher: Jawbone Press
Medium: Softcover
Author: Tony Bacon

Manufactured at the end of the 1950s, the original sunburst Gibson Les Paul - known as the "Burst" - is the most celebrated electric guitar of all time. This book by renowned historian Tony Bacon explores why these instruments have become so desirable. It takes readers from a factory in Kalamazoo, through the British blues scene of the '60s, to today's salesrooms and concert stages. 288 pages.

THE BEAUTY OF THE 'BURST, Iwanade Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960.

THE BEAUTY OF THE 'BURST

Series: Book
Publisher: Hal Leonard
Medium: Softcover
Author: Yasuhiko Iwanade
Inventory #HL 00330265
ISBN: 9780793573745
UPC: 073999327182
Width: 8.5"
Length: 11.

Finally, the long-awaited English edition of this historic Japanese book is here! The Beauty of the 'Burst pays tribute to Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960, the most highly prized solidbody electric guitars ever. The magnitude of their value is directly related to their look (outrageous wood patterns, or "figured" timber), since non-players are paying top dollar for them. The book features lavish full-color photos of these beautiful instruments throughout; the guitars of famous players; a foreword by Ted McCarty; a bio of the author, world renowned collector Yasuhiko Iwanade; and the "Science of the Burst" section with over 30 pages of detailed reference facts on every facet of the guitar, including colors, wood figure, pick-ups, hardware and qualities of "voice." This may be the closest guitarists will ever be able to get to these incredibly collectible beauties! 216 pages, softcover. 224 pages.

The Color yellow layer on top of the maple plays a very very important role in the background of the sunburst. Without this layer the radiant effect of the finish could not be obtained. As such, this layer acts as reflective lighting. On the vintage Sunburst Les Pauls, special pigment was chosen for this purpose. Contrary to belief, Gibson did not use dye to color the wood itself. The dye stain is not as reflective as pigment stain. The pigment chosen for this purpose was special. It remained vivid without hiding the grain. Combining this color layer along with the highly reflective qualities of maple created the beautiful sunburst finish of the Les Paul Sunburst. Interestingly enough, this yellow color layer never fades. Sunburst layer. The term sunburst is derived from the beautiful multi color spectrum of colors that occurs during a sunset on the horizon. With respect to guitars, the term sunburst refers to the actual spraying of red paint over the edge of a guitar on top of the yellow base coat. This produces a "sunset" effect. This procedure was done by hand; the painters use of the spray gun, the paint viscosity, the weather, and the humidity all contributed to the final outcome of this arrangement. The role of the sunburst layer differs considerably from the yellow layer. The sunburst layer does not actually shine. Rather the layer should be looked at as a passive color filter from the light coming through from the yellow base coat. For that reason, contrary to the yellow layer the sunburst layer employed a dye colorant. This dye colorant has an ideal characteristic for the sunburst layer because it is translucent. However, it has the disadvantage of being difficult to apply evenly. Also, as widely known, it is prone to fading. The common belief is that the appearance of this burst layer is due to uneven fading. This is partly true. However, it is also the case that some of this unevenness was caused by production procedure. While not so noticeable when it was new, over time it became obvious that the multiple layers of dye had been unevenly applied - only to be revealed later after the top layers had faded. This can be observed at the edge of the top, close to the end pin. On Sunburst Les Pauls, the sunburst layer gets most of the aging affect, resulting in fading or discoloration. This is most common on 1958 models through mid 1960. By late 1960 the paint formula changed, and the finish became more resistant to fading. This section primarily applies to the 1959 models. Henceforth, we have used the term fading to describe a loss of color. Actually, this is a very vague and incorrect expression. Fading does not occur simply to the red color of the sunburst layer. Cherry red is not one color - it is a mixture.

Original 1959 Cherry-Red

It is commonly known that the dye colorant red is most prone to fading. Undoubtedly that is the primary reason that the Sunburst Les Paul finish "ill fade. However, that does not explain everything about that subtle hue of the finish. The mixture of colors goes a long way toward understanding the aging and fading processes. A 1959 cherry-red color was comprised primarily of dye colorant red. To add depth to the color, a small amount of blue was added. Since 1959 cherry-red is in actuality a slightly blueish deep red, sunburst is created as the light bounces back from the yellow base coat through the cherry-red layer. So what happens then when this mixture of colors fade? As already mentioned, red fades fastest. The real issue is the ratio that each of the two colors that comprise the sunburst fade at. When the finish is new, the gloving yellow light from the base coat comes up through sunburst shading. The small amount of blue in cherry-red, together with this yellow creates green, which is a complementary color to red. In the beginning stage of fading, this green is such a low ratio that it is suppressed by red. However, as time goes by, red begins to fade more. Yellow stays unchanged. Blue fades but far slower than red. So the ratio of green against red becomes higher and higher. At a certain point of this red versus green sequence, the top starts to take a hue of brown. And this reddishbrown color is the most often seen teaburst. From there it could become green burst but usually by this time blue also starts to fade, so usually it turns into honeyburst. When all red and blue are gone from cherry-red shading, then there is no shading. It becomes a 'Lemon drop.' To further understand the topic, let us look at the process of fading in sequence and consider it with other factors. As stated, the speed of fading differs from color to color. In other words each color has its own pace of fading. If only one color is concerned, the pattern of fading remains constant. However, when fading of certain mixtures of colors are observed, each color needs to be examined independently. The way each color fades will impact the total look of the finish. So as far as Sunburst Les Pauls are concerned, fading does not mean just a loss of color. In actuality, of all the colors involved, the yellow from the base coat does not fade. Red, which is the main ingredient of cherry-red, is added with blue to make cherry-red. Both the red and the blue fade independently of each other. The change of balance among these three colors at a given time is fading. To understand the "fading sunburst" phenomenon, it is important to know the cause of it. The primary cause of fading is widely known. It is an exposure to ultraviolet light from various light sources. This makes a dramatic difference between a guitar kept and stored away for years and the one always out of the case being played. The second cause would be a chemical reaction. We often see a discoloration of the top where the elbow hits during playing. Since the film of clear lacquer has microscopic holes, acid and ammonia ridden sweat from the guitar players arm can reach through the clear lacquer, penetrating the color layer and affecting it. Also, moisture in the air can have a similar effect on the entire surface of the finish. Since the ultraviolet fading and the chemical reaction fading are mutually exclusive they may not happen simultaneously. [n different ways, both of these processes are affected by the climate, temperature and other factors. Hence, the many variations of the Sunburst's color are a result of multiple factors, influences ranging from the slight variations in the painting on each individual instrument, to the chemical and the ultraviolet fading that we have just discussed. 3. Clear Coat We have learned that the lighl which bounces back from the wood's surface through the yellow base coat goes through sunburst shading to create the glowing sunburst finish effect. However, there is one more layer the light needs to go through before it reaches our eves. That layer is a clear lacquer top coat. The film of clear lacquer is there to protect the color layer from being rubbed off and also to protect the wood from moisture and contaminants. This film of clear coat is usuallv comprised of several layers of lacquer applied successively. As we know, lacquer ages or 'burns' to a pleasant hue of amber. This means there is one more film of color laid on lap of the sunburst. The aging or anlbering effect of this film is a primal)' concern here but first 11'1' must understand amber as a color. How does it affect the way a finish looks' Examined carefully, amber is a mixture of black and orange. The black comes from the decomposition of lacquer through its deterioration. This black pigment acts as a subtle obstruction to the light bouncing back from the wood's surface. The color saturation and luminosity is suppressed by this black pigment. On Sunbursl Les Pauls, the subtle balance of bright yellow and this obstructive black pigment create a distinctive "vintage" look. The orange element of the amber, on lhe other hand, gives warmth and depth 10 the color. This is also a part of the “vintage" look. There is one more character to tllis film. It is 11rtually a frosted glass. When new, tllis film of clear lacquer is buffed and polished to a high gloss. The more flat the surface, the more radiant it becomes. However, as lacquer ages, losing small amounts of leftover solvents and plasticizers, it shrinks and becomes brittle. The film may hal'e numerous small cracks and checks. Decreased finish would expose the wood texture underneatll. All of these factors together, the surface of the clear film is given the slight satin look which complements the soft defused light effect of the overall look of the guitar. in antique jargon, this is called patina. As a conclusion, let us layout the sequence of this phenomenon of the 11ntage Les Paul Sunburst effect we just learned about. Light first reaches the top of the guitar going through the amberI'd top clear lal'er, then the cherry-red shading, the yellow base coat and finally the reflective surface of maple. Then, it bounces back OUI going through the yellow base coat again, cherry-red shading and amberI'd clear coat. It finally reaches our eyes after being mixed together Wilh the small amount of defused light that was reflecled by the surface of the top coat film of clear lacquer. Again, tllis is the oplical process which makes the Sunburst Les Paul guitar so attractive. 

CONTENTS

FOREWORD by TED McCARTY

ULTIMATE SUNBURST FILE

1958 SUNBURST LES PAUL

1959 SUNBURST LES PAUL

1960 SUNBURST LES PAUL

RARE BEAUTY ·

LABYRINTH OF THE 'BURST

THE 'BURST SLiNGERS

SCIENCE OF THE 'BURST - LAYERS OF COLORS

STUDY OF THE FIGURE - 3 DIMENSIONAL PHENOMENON

PAF, THE HEART OF THE 'BURST .. ·

HARDWARE

FROM GOLD TOP TO SUNBURST ... ·

STRUCTURE OF THE 'BURST .. ·

VOICE OF THE 'BURST

FACTS OF THE 'BURST ·

'BURST TALK - INTERVIEW WITH THE OWNERS

BILLY GIBBONS (ZZ TOP) 

JOHN CLARDY .

VIC DA PRA .

PERRY MARGOULEFF

ICHIRO KATO

ALBERT MOLINARO

RONNY PROLER

TOM WITIROCK

SERIAL NUMBER LIST ·

SUNBURST LES PAUL PHRASEOLOGY 

GIBSON'S FABULOUS FLAT-TOP GUITARS, An Illustrated History & Guide, Vinopal. 224 pagine.

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author : Dan Erlewine
Author : David Vinopal
Author : Eldon Whitford

Finally back in print! The must-have book on Gibson's killer acoustic guitars, now updated.

From the 1920s to the present, Gibson and its flat-tops have been synonymous with American music. Whether the music you listen to is from the North or the South, the country or the city, it is likely that a Gibson guitar was involved in creating it. Through more than 200 photos and detailed text, this book chronicles the development and evolution of Gibson's fabulous flat-tops, showing why these guitars have been the choice of so many great musicians, professional and amateur alike, over the last 70 years. 224 pages