1960 Les Paul Standard at Emerald City Guitars.

monty john

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Its the same thing I say over and over...its not the top ... its the TONE playability intonation tuning stability neck shape...and then TONE .. not the top
 

dsquared

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Damn, that thing sounded righteous! But being in Seattle, how long before it is "liberated" by a "peaceful protester" and ends up being traded for a bag of fentanyl????
No danger of that, there's a viral video of this burst being arrested by Feds and thrown into an unmarked van. Burst is being held without charges, but it's safe :dude:
 

Gtarzan81

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Just watched the video. Sounds cool.

The demo guy just noodles. Always annoying.

Mark did it right with Norms. Play something with rhythm and generally things people know.
 

Uncle Vinnie

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Did they mention how much they're asking?
$320,000.

No disrespect but to my ear a 1960 LP played with all the knobs turned up to 10 doesn't sound any different from any other humbucker-equipped guitar.

Can't they play the damned things clean once in a while?

 

SpeedKnob

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$320,000.

No disrespect but to my ear a 1960 LP played with all the knobs turned up to 10 doesn't sound any different from any other humbucker-equipped guitar.

Can't they play the damned things clean once in a while?

That's about $318,000 more than I can afford. I couldn't tell the difference in sound between the 1960 and a nice Traditional or R9, the differences must be very subtle. But I guess anybody that buys the 1960 is an investor.
 

dro

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Have a friend who can't tell the difference between an Epi and a Gibson Custom. I wish I couldn't.
 

Liam

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That's about $318,000 more than I can afford. I couldn't tell the difference in sound between the 1960 and a nice Traditional or R9, the differences must be very subtle. But I guess anybody that buys the 1960 is an investor.
If it was just the way they sounded, the whole vintage guitar thing probably never would have taken off. Because let's face it, in many situations listening to someone else playing one, particularly on a recording, we do a fair bit of kidding ourselves that the guitar makes all that much difference, when the abilities (or relative frailties) of the player are often far more meaningful. But how you feel when you play a ~60 year old guitar, and how the guitar feels in your hands, and how it responds to what you are playing, or at least trying to... There's something special about the occasion.

The differences are anything but subtle, especially as you get to know the guitars. If someone has handed you a guitar worth as much as your car, your house, or in some cases quite a bit more than all of that, there is a sense of awe just in handling them, looking at them and knowing they are on your lap or on your strap. If you can get past that, crank up an amp and let rip, there is a joy in some of those old guitars that cannot be replicated. Back in the mid '90s I got to play a '57 GT with a shaved neck, a very early Broad/Nocaster, a late 50's Strat and a mid 50's Strat, all within the space of a couple of months. A good mate, and great player that was with me on all but one of the occasions, decided Clapton and Page were kind of cheating a tiny bit in 1970-'73, because the instruments exuded something that made us both play better in those styles. Most of them we were playing into Epiphone solid state amps too, and they still sounded great, but it was the feel of the instruments as well. The mid 50s Strat (maybe '56, roundish neck, Sunburst) was into a Fender Tonemaster head and 4x12, and was one of the most memorably beautiful self-deafenings of my life. [World's most unusual music shop, Whitstable, Kent, UK, spring 1996.]

My first "vintage" Gibson, I think bought as an investment. Low ball money for '50s Kalamazoo, I wasn't particularly well off, but a slightly beat and completely original 1955 Junior. I wasn't sure how I'd feel about gigging with it - I had paid more than 5 times what I paid for my car at the time. Within a few months I had started getting stuff fixed up on it (some sympathetic, some less so, we live and learn and it is still mainly original, but slightly more player grade now) because it had very rapidly become one of my favourites to play out with. No idea what it's worth, it will probably not get sold while I am alive. Not sure any of the later investments will either, and I play all of them. They are my guitars, rather than financial assets.

Times move on, and playing out with collectable guitars doesn't feel in the remotest scary now. While I'm still a long way short of being able to invest $320,000 in a guitar, I'd definitely be playing it at home immediately if I did. I wouldn't tell anyone when I was playing out with it, and in all honesty no-one really notices the guitar unless I put my EDS-1275 on, but I reckon I'd last no more than a few weeks. Money is money, guitars are guitars, we equate them at the point of transaction, but it's good to be able to separate them the rest of the time.

If the message you take from this is not to get bitten by the vintage guitar bug, I understand. My wife would probably be grateful if I wanted to be cured. I love a nice R9, I love a nice relic or replica [a LOT in a couple of cases] of a 50's guitar, but there is no complete substitute for original 1950's American guitars. They were special, there will be no more of them made, and those are the reasons they are so remarkably coveted and valuable.

Liam
 

lpfan1980

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Ive been playing my 2006 Gibson for 90 minutes a day fallen inlove with it-cant imagine how over the moon id be if I got to touch a burst.I have 2 cheap vintage acoustics that have a lot of character older than I am buzz like crazy super fun 1960s era guitars. A Fender Musicmaster or Duo-sonic is the only big time vintage I can afford right now be thrilled with that.
 

Pete M

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If tuning stability, playability, and intonation are deciding factors then you should probably stay away from vintage guitars in general :laugh2:
 

pjholland

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Maybe there's a good reason they don't play through a clean amp? :hmm:
 

themollusk79

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I toured a private collection over the weekend and there were some bursts. I got to pick up and strum (acoustically) a '58 and a '60. Mind you, this was the closest I've ever been to the real thing and I'd be wrong to say I wasn't to some degree clouded by nerves and excitement. But they just felt different, and there was something intangible about them. Perhaps it just came down to the old wood and how much evaporation occurred over the last several decades. First thing I did when I got home was pick up my trusty R8, and it felt SO different. Still love my R8, but there is something real there with the old ones!
 

kakerlak

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It's hard to tell with those videos, but both of those sound like they might be pretty hot to me. Seems like there's some LPs (through all eras) that just sound a little harsh and don't quite clean up, even when you play them lightly. ZZ Top/Pearly is that way to me -- absolutely great for gritty/nasty/bright/aggressive stuff, but a little too punchy/percussive/loud when you try to go easy on it. Just my own grain of salt opinions, but there are other pauls that sound more like Bloomfield, sweeter/rounder/smoother. I like both! But they're almost a rarity among LPs, taken as a whole. There are so many muddy/muffled LPs out there.
 


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