It reminds me of the last contractor that I did finish work for. He wanted me to fly around and use lots of caulk. It doesn't take any longer to make two pieces of wood fit nicely then it does to take a measurement and jam the saw through the cut. I just did it my way anyhow. I was happier, the owner was happier, and my saw and blades didn't get the crap beat out of them.
The thing was, he wasn't capable of making a mitre fit tightly, so he wanted to drag me down to his skill level. I was better than he was when I was 13 working with my Dad. A boss who doesn't know how to do things right should not be in charge of people who have skills and can do things properly. I believe that therein lies Gibson's biggst downfall. Henry.
I believe that therein lies Gibson's biggst downfall. Henry.
Henry is an odd duck, quite misunderstood, and frankly, IMO, improperly maligned. He has a business background and has made decisions to that end that some would disagree with. He has made a few he regrets. Back then, he was struggling, fighting the good fight to make the thing he loved most in his youth, Gibson guitars, a success and worthy of the status the name carries. He was very connected, and would get so excited! We used to have jam sessions all the time at The Pink Elephant on Donelson Pike, every month. He would push a drum set into the break room, bring in some drink and food-then beg and cajole the entire plant into staying after work for a party. People don't realize how enthralled he was with new models and the improvements to the old ones. We would build him guitars as presents, in secret, then spring them on him during xmas or a birthday. He kept all of them. He treasures the plant, the CS, Montana-all of it. The hard part of making Gibson into the giant it deserved to be is that it's a business, and that can cause controversy. Personally, that man has had many trials, tragedies, and triumphs in his life and he is much loved here in our community. I am glad for my time working there and proud to have him as a friend. I remember very well the first long tenon 57 goldtop that we did up-Tom and Edwin showed it to him and he was just jumping up and down-grinning ear to ear-he plugged it into an old Lab L7 amp that was under one of the workbenches in final assembly, cranked it wide open, and started playing Black Dog. He was jumping all over, his tie loose, his shirt untucked, his jacket flapping. We all laughed-delighted at ourselves and him. He really does love the guitars!!
If you are so unhappy with your Gibson, why not sell it and go buy one of the those CNC'd and Poly'd ASIAN or PRS POSs? One of the things I still love about Gibby's is there is still enough hands on where each one is unique. oh sorry... continue with your rant!![]()
This is my 99 R7 Goldtop:
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And my 2016 Trad (picture courtesy of Sweetwater):
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Since we're talking about logo inlays, I asked this some time back and never really got an answer. The inlay logo on most LPs are silver. I never knew whether they use real mother-of-pearl or just some plastoid look-alike, like they do on the fret markers.
On my 99 R7, the inlay is gold colored instead of silver. Does anyone know what material they use for the gold logos and do they only apply them to goldtops?
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Les Paul Standard Peace.
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The picture of the beautiful logo that I started this thread with was a Peace. I believe that they're using the Holly veneer for the Peace models. I have Yet to see a Peace with a bad logo. They use Holly veneer on the Historics, and they're all nice logos. One luthier on Les Paul Forum said that if they put enough clearcoat on the gray veneer it looks pretty much black and comes out with a nice looking logo, because like the Holly it's sanded flat before paint.
The Holly hasn inlayed MOP logo. They put rubber cement over the Pearl, spray the black paint, wipe off the gloe from the pearl, and then clearcoat until it's level.