I think many of us have a sound in our head when buying a reissue Les Paul. Be it Kossoff, Greene, Page, Clapton, Gibbons or Bonamassa... I listen to recordings by these artists, trying to look past technique and amplification, wondering what guitar you have to buy to capture the 'typical' PAF tone; to make the quest more tricky, they all sound different! I know it's crazy, we spend a small fortune on an historically-correct reissue, then 'some' of us are still not quite convinced, we might feel that we have something that looks the part, but does it 'sound' the part? What have you done, in the quest for that 'vintage' sound in your head? Show your Reissue mods here! My journey began with my first Gibson R9. I played many Custom Shop R9's, the difference between them was huge, no two were alike. In the end, I settled for a beautiful non-burst: '59, finished in Extra Faded Cherry Beautiful because she was nicely-made and felt comfortable, but the tone... ? The more I played her, the more I realised something was just not right. It's that feeling, I was having to force myself to play her... while a much cheaper Korean Hamer was the go-to guitar. Of course, the Hamer was not original, she had been modified, pickups, electrics, nut... modified to a point that she was exciting to play, modified to my own specifications, in short, fun! I was thinking, why is a Custom Shop Gibson sounding so dull, sterile and uninspiring? Unplugged, the primary tone was better than the Hamer, it had depth and warmth, while the plugged in sound was just boring! I did the unthinkable, I had the Nylon nut removed and an Earvana nut fitted and the stoptail locked down with TonePros locking studs. These were the some of the mods done to the Hamer, but still this Gibson was flat and toneless. The primary tone was there, so I decided to go further down the modding lane. A Callaham locking bridge (yes, no wires) and stoptail. RS Guitarworks Superpots and TVT pots, Luxe Bumblebee caps and OX4 pickups, Alnico 2 bridge, Alnico 3 Neck, low wind and un-potted of course! Much more, I mean really much more sustain, good string definition, more treble, more bite, much more harmonics present. This guitar 'now' came alive! It's not quite there yet, a little too much treble in the primary tone, I will pull this back and introduce some more mids by using an ABM bell brass Stoptail on the next string change. '57 Goldtop This was to my ears sounding better than the '59, it had Burstbucker 2's in the Bridge and Busrtbucker 1's in the neck. They sounded good, but again, not quite what I was wanting from them. The primary tone was fine, but the wood is very dense, there was a lack of sustain and harmonics. Again, an RS Guitarworks electrics change, Earvana nut, a Callaham bridge, but this time an ABM aluminium stoptail. Aluminium because of the heavy, dense body and the neck is really fat. Tom Holmes pickups completed the package; again un-potted. These are not good pickups to hear, they sound just so amazing! It's easy to start judging all other humbuckers against them. Brilliant string separation, very even, balanced open sound, with harmonics and incredible tone! Needless to say, this guitar sounded absolutely right from the first chord! The Les Paul that I first started tinkering with was this one: Tokai LS85F (a '59 Reissue) This is where I got the formula, RS electrics, but the Callaham bridge and stoptail didn't work on this one! It sounded like a banjo. A brighter sounding body and neck, so I used ABM bell brass bridge and stoptail, this did it! Chosen pickups were a set of Seymour Duncan Joe Bonamassa Skinnerburst's! I absolutely love this guitar now, everything does what it should and most importantly, like my other two Les Paul's, I love playing it! Let's see your modded reissues!