Gibson Artist Posted September 27, 2017 Share Posted September 27, 2017 1952 les paul tribute model only 400 of these were made, but i do not see a Custom Shop logo anywhere and i believe new this was over 4,000 dollars? If anyone can answer what the list price of this was when relased and if it was a Custom shop model i would greatly appreciate. In the grand scheme, i guess a CS logo doesnt matter, how it sounds, feels and plays in your hands does. http://www.ebay.com/itm/2013-Gibson-Les-Paul-52-1952-Tribute-Goldtop-Bullion-P-90s-1-of-400-Made-/152705063760?hash=item238dee5b50 Link to comment Share on other sites More sharing options...
Rabs Posted September 27, 2017 Share Posted September 27, 2017 No.. Its a USA model... http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/Les-Paul-Tribute-1952.aspx Link to comment Share on other sites More sharing options...
Gibson Artist Posted September 27, 2017 Author Share Posted September 27, 2017 No.. Its a USA model... http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/Les-Paul-Tribute-1952.aspx Yeah, i thought so, im now curious what the original list price is? It looks amazing, ive never seen a les paul with a headstock quite like that before. Link to comment Share on other sites More sharing options...
Rabs Posted September 27, 2017 Share Posted September 27, 2017 Yeah, i thought so, im now curious what the original list price is? It looks amazing, ive never seen a les paul with a headstock quite like that before. Yeah its a pretty cool guitar... And price MSRP $4999.00 https://www.gbase.com/gear/gibson-guitars-used-gibson-tribute-to-l-goldt Link to comment Share on other sites More sharing options...
pippy Posted September 28, 2017 Share Posted September 28, 2017 It's a shame the hot-embossed pick guard is missing. I don't imagine it will be easy - if at all possible - to get an original-style replacement. Very nice guitar, though, if you don't mind a beefy neck profile. Personally I'd remove the poker-chip... Pip. Link to comment Share on other sites More sharing options...
Riffster Posted September 28, 2017 Share Posted September 28, 2017 I remember theyhada hard time moving those off the shelves, I saw it discounted at several places over a period of time. Link to comment Share on other sites More sharing options...
'Scales Posted September 28, 2017 Share Posted September 28, 2017 I remember theyhada hard time moving those off the shelves, I saw it discounted at several places over a period of time. Wow...now that is an authentic 50's touch. Kudos Gibson! Link to comment Share on other sites More sharing options...
pippy Posted September 28, 2017 Share Posted September 28, 2017 Pip. Link to comment Share on other sites More sharing options...
MichaelT Posted September 28, 2017 Share Posted September 28, 2017 I like this part in the description on the Gibson page: Logo The Gibson logo — one of the most globally recognized logos of all time — is inlaid in mother of pearl onto the headstock of the Les Paul Tribute 1952. The “Les Paul Model” signature is silkscreened in gold just below the logo. To offer historical interest, the word “prototype” is stamped into the back of the peg head. Cool guitar. I wonder how functional they are since you can't set the intonation for each string? It would be cool just to have it for historical reasons. If I were in the market for a new guitar and had the cash, I'd get it. Link to comment Share on other sites More sharing options...
rct Posted September 28, 2017 Share Posted September 28, 2017 This'll take a while... So in HIGH school, there was one of about a dozen of us in my class, a guitar player kid name of Bob. He had perfect pitch. He was a goof. Couldn't really stay in a band but was lots of fun to jam with, he knew Roundabout all the way through but nobody could sing it. An oddball for sure, and he lived just a few doors away from where my first real band rehearsed every single Saturday. Later on him and I would trade strats, we each had two at the time and I have a lot of pix of me using one or the other of his mid 70's Ash strats, and a couple of him using my Walnut 74. His dad was the brother of Danny of Danny And The Juniors, a Philly band of some fame and fortune in the 50's and 60's, and well into the late 70's because of people like our parents who grew up with them and would go out to Latin Casino or **** Lees and see The Juniors. Ok, that took a while. His dad had a 52 Les Paul. It was awful. I never understood why they reissued these things. If they were accurate, each and every one had to suck. If they didn't suck, they couldn't possibly be an accurate reissue. That's all I got. rct Link to comment Share on other sites More sharing options...
MichaelT Posted September 28, 2017 Share Posted September 28, 2017 Thanks RCT. That's kind of what I was figuring. It's cool for a historic value. I can't imagine trying to play the thing. My friend (lead guitarist in the first band I was in 1982-1983) had a 1961 Les Paul, the one shaped like what would later be the SG. It played great, sounded great but with that weird tremolo, it wouldn't stay in tune at all, particularly if he chose to use the darned thing. It was his dad's guitar and if/when he got in trouble, his dad would take it away, thus pretty much making it difficult for the band to play. It was cool to be able to play a piece of history like that at the time. Link to comment Share on other sites More sharing options...
pippy Posted September 28, 2017 Share Posted September 28, 2017 His dad had a 52 Les Paul. It was awful. I never understood why they reissued these things. If they were accurate, each and every one had to suck. If they didn't suck, they couldn't possibly be an accurate reissue... Thanks RCT. That's kind of what I was figuring. It's cool for a historic value. I can't imagine trying to play the thing... There were really only two problems worth the name with the '52 style Les Paul as originally released. The first - and it was a howler - was the incorrectly machined neck-set angle. The second was, as has been noted, the trapeze bridge/tailpiece's inability to intonate each string individually. This is, IMO, less of an issue. The neck-set angle was hastily revised roughly half-way through (according to most sources) production of the second batch of Les Pauls to leave Parsons Street and many of those with the too-shallow neck-set instruments have subsequently had their necks re-set to the correct angle at the behest of subsequent owners. The Tribute model has the correct neck-set angle so it doesn't suck and it isn't, therefore, a completely accurate reissue. As far as individually adjustable intonation goes; Is this really as big a problem as it seems?............ No Les Paul 'Regular' ('Standard') had an intonating bridge before the '55 model-year and yet some classic recordings were made using these older instruments - such as Freddie King's 'Hideaway' album; a whole load of John Lee Hooker stuff; Hubert Sumlin with Howling Wolf etc...etc...etc... Our old mate and former forumite has a really early (unbound neck) GT and still has the incorrect neck-set angle BUT has bought an aftermarket replacement bridge-bar for the t'p which has a lower profile meaning the guitar can be used perfectly well as-is. As it is also a compensated design it seems a very, very good solution to the problem of playability whilst keeping originality - in that the old one can be retrofitted in a matter of minutes... FWIW I have an old 1940's Gypsy Jazzer with a non-compensated wooden floating bridge and yet, uncannily, the guitar still plays in tune. Most odd. Incidentally the trapeze unit as fitted to the guitar in the OP is not the design which was used by Gibson at any time, ever, on any of the Les Paul series until this tribute model appeared. This particular style of bridge/tailpiece was drawn-up by Les Paul himself but Gibson chose to use their own design when the LP was introduced. Pip. Link to comment Share on other sites More sharing options...
rct Posted September 28, 2017 Share Posted September 28, 2017 As far as individually adjustable intonation goes; Is this really as big a problem as it seems?...... If all the guitar players and bass player in your band stay inside the first three frets it is not a problem with them, but remains a problem with the keys guy. If your band, like most of mine, likes to spread the guitars up and down the neck and the keys guy does what he does, a poorly intonated guitar becomes a serious problem. Just have one of you be a bit off and the beating between the guitar and keys is a headache waiting to happen. So it could be as big a problem as it seems, yes. rct Link to comment Share on other sites More sharing options...
pippy Posted September 28, 2017 Share Posted September 28, 2017 If all the guitar players and bass player in your band stay inside the first three frets it is not a problem with them, but remains a problem with the keys guy.......Just have one of you be a bit off and the beating between the guitar and keys is a headache waiting to happen. Pffttttt....Keyboard players. Who needs them?... Seriously, though, rct. Point noted. I do understand the preference for everyone to be roughly within spitting-distance of being in communal tune and for guitarists that means having their saddles in the right place for the particular gauge of strings being used. So I absolutely get the root of the problem but I've just never experienced this problem first-hand. Mainly because, of course, my electrics have always had adjustable bridges. Even my '62 Tele Custom reissue - with it's three-piece brass saddle bridge - was always close enough for rock'n'roll. But apart from the very first band I was ever in I've never had a keys player aboard so any subsequent micro-intonation problem has never been acutely obvious. It would be very interesting to try out one of these '52-style LPs to see just how far out it is (or isn't) in a live setting - as an all-guit group and then with some keys attached. It might also be noted that the players mentioned in my previous post didn't normally have a pianist in the troupe... Pip. Link to comment Share on other sites More sharing options...
Gibson Artist Posted September 29, 2017 Author Share Posted September 29, 2017 There were really only two problems worth the name with the '52 style Les Paul as originally released. The first - and it was a howler - was the incorrectly machined neck-set angle. The second was, as has been noted, the trapeze bridge/tailpiece's inability to intonate each string individually. This is, IMO, less of an issue. The neck-set angle was hastily revised roughly half-way through (according to most sources) production of the second batch of Les Pauls to leave Parsons Street and many of those with the too-shallow neck-set instruments have subsequently had their necks re-set to the correct angle at the behest of subsequent owners. The Tribute model has the correct neck-set angle so it doesn't suck and it isn't, therefore, a completely accurate reissue. As far as individually adjustable intonation goes; Is this really as big a problem as it seems?............ No Les Paul 'Regular' ('Standard') had an intonating bridge before the '55 model-year and yet some classic recordings were made using these older instruments - such as Freddie King's 'Hideaway' album; a whole load of John Lee Hooker stuff; Hubert Sumlin with Howling Wolf etc...etc...etc... Our old mate and former forumite has a really early (unbound neck) GT and still has the incorrect neck-set angle BUT has bought an aftermarket replacement bridge-bar for the t'p which has a lower profile meaning the guitar can be used perfectly well as-is. As it is also a compensated design it seems a very, very good solution to the problem of playability whilst keeping originality - in that the old one can be retrofitted in a matter of minutes... FWIW I have an old 1940's Gypsy Jazzer with a non-compensated wooden floating bridge and yet, uncannily, the guitar still plays in tune. Most odd. Incidentally the trapeze unit as fitted to the guitar in the OP is not the design which was used by Gibson at any time, ever, on any of the Les Paul series until this tribute model appeared. This particular style of bridge/tailpiece was drawn-up by Les Paul himself but Gibson chose to use their own design when the LP was introduced. Pip. Thank you and RCT for your honest, opinions. I find the part about the tailpiece being les pauls original plan very intriguing.. Link to comment Share on other sites More sharing options...
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