Author Topic: Pic: 1975 rosewood-top Les Paul Custom (Read 848 times)

alembic76407 · « **Reply #15 on:** November 24, 2003, 02:25:54 PM »

speaking of Fender, I saw a 1966 Precision today for only $4599, I hope they get it

Manfred · « **Reply #16 on:** November 25, 2003, 01:52:09 AM »

Here's a nice one.

http://www.tennessean.com/sii/00/05/28/gibson28.shtml

Manfred

dean_m · « **Reply #17 on:** November 25, 2003, 07:51:47 AM »

That's very interesting!!!
He sounds like a very eccentric (for lack of a better word) individual. Not sure if I'd like to work for him.
It is too bad what happened to Tobias, although the MTDs are beautiful instruments as well.
I still see Tobias basses though from MusicYo. Anyone have any info on that situation.

bigredbass · « **Reply #18 on:** November 25, 2003, 08:47:03 AM »

Dino

The MusicYo basses are basically the original-pattern Tobias bass built in Korea. I've played a few and they are Ok for the price range. For serious work, you'd gut them and replace with all-Bartolini, as the routs are the same.

I'd rate the quality as 'B' spec Samick, definitely not as good as Samick's current new offerings, and certainly not Yamaha/Aria/Ibanez Japan-spec build.

Believe me, that TENNESSEAN article is just a taste of the Henry!

Just to twist all this further:

---Supposedly Gibson is going to 'revive' American production of Tobias at the Baldwin Piano (ANOTHER acquisition) plant in Arkansas

---Supposedly Ned Stienberger is returning to update the old designs for the 'Steinberger Guitars' that is part of Gibson

---I played the couple of MusicYo Tobias' at VALLEY ARTS GUITAR (the old LA pro shop, formerly owned by Samick, now bought and transplanted to Nashville by Gibson, building their variations on Fenders!)

Who needs fiction when real life gets this strange?

Believe me, I could fill the Titans' stadium with people who USED to work for Gibson.

J o e y

David Houck · « **Reply #19 on:** November 25, 2003, 08:55:47 AM »

Interesting article Manfred; thanks.

dean_m · « **Reply #20 on:** November 25, 2003, 09:14:58 AM »

You know,

If they would just focus on doing one thing, and do it good.
Man for what they charge for a Les Paul, they have to diversify.
Here's a funny story for you.
I worked for Gibson 1 year at the NAMM show in Anaheim. I was a runner for them. I would run badges out to endorsees at the gates so they could get in. I remember having to escort Les Paul, into the show with a Ben Dover name tag because they gave his badge to Slash from Guns & Roses. How's that for respect for the man that put them on the map.
That's my stupid Gibson story. Im sure you've got plenty.
Thanks for the info on the MusicYo thing!!!

Dino

xlrogue6 · « **Reply #21 on:** November 25, 2003, 12:16:27 PM »

I'm probably just too slow to appreciate Henry's brilliance, but if he's as smart as they say, why does he keep buying companies and then (micro)managing them in such a way that they lose money and die?

(Acquisitions? That's down the hall--it's Being Hit On The Head lessons in here.)

jake · « **Reply #22 on:** December 05, 2003, 10:33:32 PM »

i have a gibson. not a nice one, but to me they're all the same. I've played vintage les pauls worth tens of thousands and they sound only marginally different, and the craftsmanship is borderline on every single gibson i have ever played. the only vintage guitar that ever inspired me was a 1954 strat, asking price $7500. The guitar sounded much better than new fenders, and there was just something about it that made me feel like I was meant to play it. But, nowhere near enough money, so oh well. But these days, theres almost nothing i would put down the asking price for. Henry, as some has said he is brilliant, is in my opinion an absolute monster. He makes people like bob taylor look good. Bob's guitars are overpriced for a massproduced machine made instrument but at least they are well crafted and sound decent. Whenever Henry touches a company, the quality control goes straight to hell, as does the sound and its just a terrible situation. I would never ever consider buying a new baldwin piano, or a new gibson guitar at this point which is a damn shame because at least, at one point these great american instrument companies were worthy of some respect! I cannot respect a company that produces instruments with frets showing through the binding, electronics that crackle, and uneven finishes. And it's all because Henry has convinced those poor guitar-center going saps that simply owning something with the gibson name on it will turn you into a rock star. As a guitar maker, i have very strong opinions as you can definitely already tell. Guitar makers are a very opinionated group and generally love starting fights among eachother just to come out on top in the end. However the only thing that guitar makers as a whole ever agree on is gibson, and what a hyped up load of sh*t it is. And if anyone says paul reed smith, theyre just waitin for it...

bracheen · « **Reply #23 on:** December 06, 2003, 07:20:29 AM »

To add one more whack on a long dead horse, I don't have any Gibson experience but do have three Mexican Fenders that cost me less than half the price of their American cousins and I am very happy with them. Granted I'm not a pro and currently play at home for relaxation and stress relief but the inflated value of the made in USA sticker on the peg head makes me smile every time.

Sam

bigbadbill · « **Reply #24 on:** December 14, 2003, 08:41:29 AM »

Hoo, I may be in trouble here, but the Gibson Les Paul is my favourite 6 string guitar (with the possible exception of the Yamaha SG1000/2000).Although I agree they're overpriced (particularly anything above a Standard; how anybody can pay ?3000+ for a new Les Paul is beyond me), I love the vibe and sound. Most of the so-called boutique guitars leave me a bit cold (eg Tom Anderson etc.); I guess what Rami says about familiarity has some bearing on this, although I don't agree with our attachment to old instruments not being about sound. Sound is ultimately a purely subjective thing; wasn't it Jaco who said he preferred the sound of his main Jazz's to anything else? If I had to keep one bass in the world it would be my 72 Rick, which is my favourite sounding of all the basses I've ever owned, and is totally unique (I've owned and played many Ricks and none sound like this one). I wouldn't get rid of that for anything,even if you offered me a 25th Anniversary in trade. I do agree the build quality of old guitars is generally not up to much by todays standards, but build quality does not necessarily a great instrument make. Of course your own personal playing style and the sound you're trying to achieve have a great bearing on this.

palembic · « **Reply #25 on:** December 14, 2003, 09:49:18 AM »

Hmmmm ....1 admirer of the Yamaha SG 2000 over here!

Forgot to say: one of the guitarplayers I work with has an old Yamaha SG 1500. Although he's a Strat and Gretsch player,he says it's one of the best in it's kind.

(Message edited by palembic on December 14, 2003)

bigredbass · « **Reply #26 on:** December 14, 2003, 10:52:25 AM »

bbb-

I worked in retail in the late 70s-early 80s, and believe me, the great overlooked GEM of that time is the SG2000. Over the years, Yamaha has rotated it in an out of their product line. They are once again for sale in Japan, and may be coming to the EU, as Yamaha fronts a different product mix there from the US. They are currently offering several new BB basses that are not sold in the US at this time.

The original neck-thru SG2000s we sold at that time ROUTINELY had to have their action RAISED by us, as only the most sure-fingered of our customers could ride them successfully as we recieved them . . . while not ALEMBICs, they were surely the best 'production' solid-body guitars I ever saw, and are fortunately sold at reasonable prices in the vintage market.

The SG, the better Ibanez Artists, and the Aria PEs are the three best Japanese electrics, where they took the original layout and added their own stamp and features to form their own identities.

J o e y

zappahead · « **Reply #27 on:** December 14, 2003, 11:53:30 AM »

I have a comic done by Tim Truman about Santana that features a low down on his guitar aresenal in the back of it with lots of pics. Some of the nicer ones in theres are Yamaha SG's. He claims to have worked with them on the guitars and improving the model with his input. There are some pictures of some incredibly inlayed Yamahas that he is very proud of and considers to be among his best instruments.

rami · « **Reply #28 on:** December 14, 2003, 07:34:48 PM »

Comparing a passive bolt-on & shifting neck bass to an Alembic for sound is really comparing apples to oranges. Other than Alembic, I've never seen an active bass with Tone control. That's another major advantage of the Alembic sound. I can get Bass, treble and midrange from my amp.
My best sounding passive Bass is my '72 Jazz. I grew up with it and found my voice through it. As great as it sounds, it wouldn't be fair to compare it to my Alembics. I agree that sound is subjective, but form a technical and construction stand point, the Alembics have all the right ingredients. There are no misses or hits with my Alembics - they ALL sound great.
Some of my Jazz Basses sound great - some sound like garbage. Why did Jaco play the same Bass throughout his career? Because finding a great sounding Jazz Bass is pure luck.

rami · « **Reply #29 on:** December 14, 2003, 07:43:26 PM »

(Message edited by rami on December 14, 2003)