Frippified Posted August 31, 2008 Share Posted August 31, 2008 Hello, Looking into the Les Paul 1959 reissues, it's time to get one. I'm looking into the various differences between the various years the reissue 1959 model has been available. What are the differences in the body and hardware, neck and headstock and electronics between the newer VOS and the pre VOS guitars? Specifically looking at a 2005 and trying to determine the difference from a 2007 and 2008 1959 reissue. I'm less concerned with the finish or should I be. There seem to be some good deals out there. Also is it worth waiting for the 2009 models to come out? Is there a 1959 Black Beauty reissue on the horizon? Thank you for your time and consideration. Frippified Link to comment Share on other sites More sharing options...
Custom Admin Posted September 2, 2008 Share Posted September 2, 2008 there have been no spec changes to the R9 since 2003. the VOS program (started in '06) is simply a light aging process applied to the finish and hardware...it does not change any other physical specs at all. Link to comment Share on other sites More sharing options...
Frippified Posted September 2, 2008 Author Share Posted September 2, 2008 Did the mahogany used for the guitars change along the way. When did Gibson start using Honduran mahogany again? Thank you Frippified Link to comment Share on other sites More sharing options...
Custom Admin Posted September 2, 2008 Share Posted September 2, 2008 we use south american mahogany...that's as specific as anyone here will get with me--and that's what we've used for quite a while. here's a link to a thread where this was discussed a bit: http://forums.gibson.com/default.aspx?g=posts&t=5215 Link to comment Share on other sites More sharing options...
Custom Admin Posted September 5, 2008 Share Posted September 5, 2008 they are different processes. the custom authentic finish was achieved mostly via buffing ther guitar, but the VOS finish involves several propreitary steps. Link to comment Share on other sites More sharing options...
davidlessig Posted September 28, 2008 Share Posted September 28, 2008 Gibson Custom Shop Les Paul Series Nashville, TN, U.S.A. Available 1993 to Now Standard Colors: Cherry Sunburst, Heritage Darkburst. Pick Ups: 2 '57 Classic Humbucking Pickups. Body: "AAAA" Figured Soft Maple Top, Mahogany Back. Neck: Mahogany. Fingerboard: Indian Rosewood. Number of Frets: 22. Scale Length: 24 ¾ inches. Options: '59 Rounded Profile Neck Thin Holly Headstock Veneer Silk Screened "Les Paul Model" On Headstock "Historic Collection" Decal On The Back Of The Headstock Single-ply Cream Binding Aged Acrylic Trapezoid Inlays ABR-1 Tune-O-Matic Bridge Lightweight Stopbar Tailpiece Vintage Kluson Replica Tulip Tuning Keys Nickel Hardware Cream Pickguard (Some Models Without) Amber Top Hat Knobs 2 Volume Controls 2 Tone Controls 3-way Pickup Selector Switch Regular Gibson USA Brown Case 1994 Changes: White Pearloid Inlays "AAAA" Grade Soft Maple Top First 200 Painted By Tom Murphy 1995 Changes: Eastern And Western Maple Used For Tops "Historic Collection" Decal On The Back Of The Headstock Dropped 1997 Changes: ID Micro Chip Added To Neck Joint Brass Bridge Saddles Replace Steel Bridge Saddles "AAAAA" Grade Soft Maple Top 1999 Changes: 40th Anniversary '59, Painted And Aged By Murphy (100 Made) "AAA" Hard Maple Top Gibson Stops Flame Enhancing Limited Quantity Of "Killer Top" R9s, "AAAAA" Tops, Stamped R9K In Cavity Thin Body Binding Thin Lacquer Finish Certificate of Authenticity First Issued '59 Les Paul Standard Plain Top Introduced 2000 Changes: Lemon Burst, Tri Burst Finishes Issued Tortoise Side Markers Removed Rounded Point Fretboard Inlays Heavy Tailpiece Thicker Jack Plate Thicker Switch Plate/Washer Fine-Knurler Switch Nut Amber Knobs Gibson Labeled Volume and Tone Pots Orange Drop Capacitors Certificate of Authenticity Rescinded 2001 Changes: R9 Production Limited To 500 Units US, 1000 Worldwide Due To Parts Sourcing Issues Custom Authentic Finish Model Introduced Vintage Style Mid Jumbo Size Frets Thin Neck Binding Tortoise Side Markers More Round Edged Pearloid Inlay Lightweight Aluminum Tailpiece New Thick Jack Plate Very Bright Red Sunburst Faded Tobacco, Iced Tea, Washed Cherry Finishes Added Certificate of Authenticity Reinstated Limited Run Of Brazilian Board Guitar's Given To Award Dealers. About 50 Guitars In The 9 1203 To 9 1250 Range; All But 6 Of Them Aged By Tom Murphy 38 Official Brazilian R9's 2002 Changes: BurstBucker Type 2 Humbucking Pickup (Neck), BurstBucker Type 3 Humbucking Pickup (Bridge) Genuine Kluson Tuners For Some Early Issues Improved Tuner Bushings Non-Wire ABR-1 Bridge For Some Early Issues Amber Tophat Knobs CTS Volume and Tone Pots Owners Package with: Owners Card (Listing Name, Serial Number And The Dealership), Certificate Of Authenticity, Reissue Strap, Embroidered Les Paul Swatch, Custom Care Kit 2003 Changes: 674 Brazilian Rosewood Necks (9 3001 thru 9 3674) Madagascar Rosewood Fingerboard (Others) BurstBucker Type 1 Humbucking Pickup (Neck), BurstBucker Type 2 Humbucking Pickup (Bridge) Eastern Hard Maple Top Truss Rod Cover Moved Away From Nut Headstock Shape Changed I-Dot On Gibson Logo Moved To The Correct Position Tuners Arranged To Be Inline Inlays Changed To Swirly Plastic Sharp Corners On Inlays Wired ABR-1 Gold Knobs Vintage Style CTS Pots "Bumblebee" Caps Special Run Of "Stinger Series" Guitars (Special Order Run for Music Machine of Washington; "Stinger" Black on reverse of Headstock/Neck, Brazilian Rosewoood Fingerboards) 2004 Changes: Short Truss Rod Screws Sized Correctly Silk Screened "Les Paul Model" Logo Location Corrected Custom Shop Black Case 2005 Changes: Truss Rod Screws Resized 2006 Changes: VOS Finish With Aged Hardware Introduced Plek Machine Dressed Frets And Nut Slots Real Vintage Looking Maple Top Grains/Figures 2007 Changes: Brighter Back Red Filler Color Real Honduran Mahogany Backs Link to comment Share on other sites More sharing options...
MReynolds Posted December 3, 2008 Share Posted December 3, 2008 Gibson Custom ShopLes Paul Series Nashville' date=' TN, U.S.A. Available 1993 to Now Standard Colors: Cherry Sunburst, Heritage Darkburst. Pick Ups: 2 '57 Classic Humbucking Pickups. Body: "AAAA" Figured Soft Maple Top, Mahogany Back. Neck: Mahogany. Fingerboard: Indian Rosewood. Number of Frets: 22. Scale Length: 24 ¾ inches. Options: '59 Rounded Profile Neck Thin Holly Headstock Veneer Silk Screened "Les Paul Model" On Headstock "Historic Collection" Decal On The Back Of The Headstock Single-ply Cream Binding Aged Acrylic Trapezoid Inlays ABR-1 Tune-O-Matic Bridge Lightweight Stopbar Tailpiece Vintage Kluson Replica Tulip Tuning Keys Nickel Hardware Cream Pickguard (Some Models Without) Amber Top Hat Knobs 2 Volume Controls 2 Tone Controls 3-way Pickup Selector Switch Regular Gibson USA Brown Case 1994 Changes: White Pearloid Inlays "AAAA" Grade Soft Maple Top First 200 Painted By Tom Murphy 1995 Changes: Eastern And Western Maple Used For Tops "Historic Collection" Decal On The Back Of The Headstock Dropped 1997 Changes: ID Micro Chip Added To Neck Joint Brass Bridge Saddles Replace Steel Bridge Saddles "AAAAA" Grade Soft Maple Top 1999 Changes: 40th Anniversary '59, Painted And Aged By Murphy (100 Made) "AAA" Hard Maple Top Gibson Stops Flame Enhancing Limited Quantity Of "Killer Top" R9s, "AAAAA" Tops, Stamped R9K In Cavity Thin Body Binding Thin Lacquer Finish Certificate of Authenticity First Issued '59 Les Paul Standard Plain Top Introduced 2000 Changes: Lemon Burst, Tri Burst Finishes Issued Tortoise Side Markers Removed Rounded Point Fretboard Inlays Heavy Tailpiece Thicker Jack Plate Thicker Switch Plate/Washer Fine-Knurler Switch Nut Amber Knobs Gibson Labeled Volume and Tone Pots Orange Drop Capacitors Certificate of Authenticity Rescinded 2001 Changes: R9 Production Limited To 500 Units US, 1000 Worldwide Due To Parts Sourcing Issues Custom Authentic Finish Model Introduced Vintage Style Mid Jumbo Size Frets Thin Neck Binding Tortoise Side Markers More Round Edged Pearloid Inlay Lightweight Aluminum Tailpiece New Thick Jack Plate Very Bright Red Sunburst Faded Tobacco, Iced Tea, Washed Cherry Finishes Added Certificate of Authenticity Reinstated Limited Run Of Brazilian Board Guitar's Given To Award Dealers. About 50 Guitars In The 9 1203 To 9 1250 Range; All But 6 Of Them Aged By Tom Murphy 38 Official Brazilian R9's 2002 Changes: BurstBucker Type 2 Humbucking Pickup (Neck), BurstBucker Type 3 Humbucking Pickup (Bridge) Genuine Kluson Tuners For Some Early Issues Improved Tuner Bushings Non-Wire ABR-1 Bridge For Some Early Issues Amber Tophat Knobs CTS Volume and Tone Pots Owners Package with: Owners Card (Listing Name, Serial Number And The Dealership), Certificate Of Authenticity, Reissue Strap, Embroidered Les Paul Swatch, Custom Care Kit 2003 Changes: 674 Brazilian Rosewood Necks (9 3001 thru 9 3674) Madagascar Rosewood Fingerboard (Others) BurstBucker Type 1 Humbucking Pickup (Neck), BurstBucker Type 2 Humbucking Pickup (Bridge) Eastern Hard Maple Top Truss Rod Cover Moved Away From Nut Headstock Shape Changed I-Dot On Gibson Logo Moved To The Correct Position Tuners Arranged To Be Inline Inlays Changed To Swirly Plastic Sharp Corners On Inlays Wired ABR-1 Gold Knobs Vintage Style CTS Pots "Bumblebee" Caps Special Run Of "Stinger Series" Guitars (Special Order Run for Music Machine of Washington; "Stinger" Black on reverse of Headstock/Neck, Brazilian Rosewoood Fingerboards) 2004 Changes: Short Truss Rod Screws Sized Correctly Silk Screened "Les Paul Model" Logo Location Corrected Custom Shop Black Case 2005 Changes: Truss Rod Screws Resized 2006 Changes: VOS Finish With Aged Hardware Introduced Plek Machine Dressed Frets And Nut Slots Real Vintage Looking Maple Top Grains/Figures 2007 Changes: Brighter Back Red Filler Color Real Honduran Mahogany Backs[/quote'] Dude, Joe Yoshida already did this list...next time you cut and paste at least give credit to the person doing it! Link to comment Share on other sites More sharing options...
Flamed Froggy Posted December 21, 2008 Share Posted December 21, 2008 admin. on many les paul forum they talk about and complain about historic reissue's trussrod and its installing tube or something.saying its not correct yet like what the vintage les paul have. do you know what they are talking about? thanks!...............j I'm very surprised by this subject because I read in Tony Bacon book "The Les Paul Guitar", that original LPs were not similar. Actually, when they started the Historic Collection models, in 1993, it was very hard to find the truth because they inspected about 25 original LP and they were different. So I wonder why it was impossible to find THE right specifications 15 years ago and now it's possible. Link to comment Share on other sites More sharing options...
sok66 Posted December 23, 2010 Share Posted December 23, 2010 I'm very surprised by this subject because I read in Tony Bacon book "The Les Paul Guitar", that original LPs were not similar. Actually, when they started the Historic Collection models, in 1993, it was very hard to find the truth because they inspected about 25 original LP and they were different. So I wonder why it was impossible to find THE right specifications 15 years ago and now it's possible. Mr Bacon is quite correct in his statement. Like all Gibsons, or indeed, most guitars from any manufacturer from that period, 1950s vintage Les Pauls have significant variability from one to another and can really only be classified in terms of some basic features. Small detail specs vary from one guitar to the next and it is a fools errand to try and define them as specifically as some would suggest is possible. In fact, it is actually a bit dishonest to suggest otherwise. Having handled, sold and owned many vintage 50s Les Pauls it is more important to enjoy the differences between the guitars as something of a testament to their hand crafted, one at a time nature. Modern reissues are really completely different guitars. They are far more consistent quality and detail-wise and capture much of the spirit of the originals. Gibson is to be commended for attempting to do what is essentially impossible. That is, recreate in large numbers something that was originally done by hand at a fraction of the volume, and with little concern for detail consistency. There has been quite a bit of mythology spun about vintage Les Pauls over the years, a lot of it by people who would profit a great deal from it. Link to comment Share on other sites More sharing options...
Raptor Posted December 24, 2010 Share Posted December 24, 2010 Joe, I think what you are talking about is often called the truss rod condom, or sheath. The original truss rods were a steel with a bend at one end that was set into the wood and threaded at the end where the nut goes. Then they came up with double acting truss rods which are two steel rods side by side. Anyways, in older guitars, if there is no tension on the truss rod, the steel rod would sometimes vibrate and give off a slight metallic rattle, especially with two piece truss rods. So at some point it was discovered that if you cover them with a thin plastic or rubber sheath, like heat shrink tubing, it would eliminate this metal rattle. Some of the very particular historic people claim that this rubber sheath robs the guitar of tone. So they will often complain about it and/or have it removed. Personally I do not see it, because it is not like the whole truss rod cavity is filled with rubber or plastic. Are they wrong? Who knows. It is a matter of personal opinion as far as I am concerned. A lot of folks will tell you that their guitar sounds much better without it, but who knows what difference the removal and replacement of the fretboard has had? Also it has been my opinion that very, very few people will tell that their guitar has either had no change, or is worse after spending a pile of money to 'upgrade' it. I am not condeming those who claim it to be so, I am just not convinced that it makes that much of a difference. Will Gibson ever go back to using a truss rod without a sheath? I doubt it I think they are harder to find than those with sheaths, and then if they did, within a couple of years they will have customer complaining about the rattle in the neck, wondering why Gibson can't make a better guitar. So I see it as a no win situation for Gibson. People complained about seeing the little bit of maple in the cutaway, so Gibson went to a wider binding, then people complained that it was not historically correct. Now and then you still see the odd person complaining about seeing the edge of the maple cap in the cutaway. To each his own. Link to comment Share on other sites More sharing options...
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