Gibson 1958 Les Paul Plain Top VOS Faded Tobacco
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Objects of distinction are seldom recognized immediately, and this was certainly the case when Gibson introduced the newly renamed Les Paul Standard in July of 1958. Objects of distinction are seldom recognized immediately, and this was
certainly the case when Gibson introduced the newly renamed Les Paul
Standard in July of 1958. Having already made several modifications to
the base Les Paul Model guitar over the previous two years--the
Tune-o-matic bridge and stopbar tailpiece being the most notable
changes--the new Les Paul Standard introduced in 1958 hoped to correct
Gibson's waning sales of solid body electric guitars, which had been on
the decline ever since 1953 when the company shipped 2,245 instruments.
With a rich, rubbed appearance, this instrument is a true beauty.
For the 1958 Standard Plaintop, Gibson decided to arrange the maple top
in two "bookmatched" pieces glued together at the center seam, giving
each guitar its very own distinct look and marking the beginning of the
guitar world's fascination with figured maple tops, even though the
majority of the tops used in 1958 were considered "plain" when compared
to the tops used one year later and beyond.
Gibson's legendary Burstbucker pickups and Tune-o-matic bridge.
22-fret rosewood fingerboard outfitted with acrylic trapezoid inlays matching the size of color of the originals.
Legendary Gibson president Ted McCarty and his staff partly blamed the
guitar's Goldtop finish as the main culprit for the sales slump and
decided to forego the finish in favor of new, brighter finish dubbed
Cherry Sunburst, which allowed the natural beauty of the maple top to be
showcased--something that had previously been concealed by the Goldtop
Additionally, Cherry Sunburst was the only color other
than Gold that was used to finish the new Les Paul Standards in 1958,
even though clear differences in the color of vintage examples would
suggest otherwise. These variations were due mainly to the inconsistency
of the red pigment used by Gibson to paint the sunburst finish, a
problem that wasn't corrected until the early 1960s and which caused
many of the guitars to fade to some degree of amber, honey or yellow
hue. This "problem" inadvertently led to the creation of many of the
finishes used today on numerous Gibson guitars, including Honey Burst,
Tobacco Burst, Light Burst, Iced Tea Burst, Lemon Burst, Vintage Sun
Burst and, of course, the original Heritage Cherry Sun Burst.
The 1958 Les Paul Standard reissue produced today by Gibson Custom is
true to all of the original instrument's features and characteristics,
including Gibson's traditional hand-carved "plain" maple top and solid,
non-weight relieved mahogany body. The headstock is made from Holly head
veneer, as opposed to fiber, just like it was in 1958, and the
vintage-style tulip tuners are mounted in a straight line, also as they
were on the original. The 24 3/4-inch scale length neck is made from one
solid piece of mahogany, and attached to the body using a long neck
tenon--one of the Les Paul's more distinguishing characteristics of the
1950s. The neck is topped by a 22-fret rosewood fingerboard outfitted
with acrylic trapezoid inlays matching the size and color of the
originals. Of course, two of Gibson's legendary Burstbucker pickups
deliver all the subtle variations of true, classic humbucker tone by
using historically "unmatched" bobbin windings and Alnico II magnets.
Other historical appointments include CTS potentiometers, bumble bee
capacitors, rolled creme-colored fingerboard binding, single-ply thin
binding around the body, and period-correct switchwasher and jackplate.
The 1958 Les Paul Standard comes in either a V.O.S. or Gloss finish, and
with the standard Gibson Custom case, custom care kit and certificate
of authenticity. They are available in Faded Tobacco Burst, Washed
Cherry Burst, Iced Tea Burst, Bourbon Burst, Lemon Burst and Sunrise Tea
nitrocellulose finish to any Gibson guitar is one of the most
labor-intensive elements of the guitar-making process. A properly
applied nitro finish requires extensive man hours, several evenly
applied coats, and an exorbitant amount of drying time. But this fact
has never swayed Gibson into changing this time-tested method, employed
ever since the first Gibson guitar was swathed with lacquer back in
1894. Why? For starters, a nitro finish dries to a much thinner coat
than a polyurethane finish, which means there is less interference with
the natural vibration of the instrument, allowing for a purer tone. A
nitro finish is also a softer finish, which makes it easily repairable.
You can touch up a scratch or ding on a nitro finish, but you can't do
the same on a poly finish. In addition, a nitro finish is very porous in
nature, and actually gets thinner over time. It does not "seal" wood in
an airtight shell--as a poly finish does--and allows the wood to
breathe and age properly.
All VOS (Vintage Original Spec) series
guitars will use a proprietary process that includes unique steps for
staining, wet-sanding, and hand-rubbing; subsequently the guitars
reflect what a well-cared for 40-year-old guitar looks like. The result
is a remarkable patina that will delight even the most discriminating
Tehničke specifikacije proizvoda
- Carved Plain Maple Top
- Solid non weight relieved Mahogany Back
- Single ply cream binding on top
- Thin Toggleswitch washer & jackplate
- Nickel Hardware
- ABR-1 Bridge lightweigh aluminium stopbar
- 1 Piece Mahogany neck w/ long neck tenon
- 22 Fret Rosewood Fingerboard
- Acrylic Trapezoid Inlays (accurate colour & shape)
- Single-ply cream binding
- Early 50s Rounded Neck profile
- 24 3/4" Scale length 1 11/16" Width
- Holly Headstock veneer
- Vintage Tulip tuners
- Burstbucker 1 (R) and 2 (R) Pickups
- CTS Pots and Bumble Bee Capacitors
- 2 Volume & 2 Tone controls, 3 Way Selector switch
- Colour: Faded Tobacco
- Item model number: LPR8PVOFTNH1