jueves, 11 de febrero de 2016


 We love the top and the “M” tailpiece on this 1958 Magnatone Mark III Deluxe from Blue Moon Music. Guitarlington 2015.
 A lefty 1962 Fender Stratocaster in Olympic White and a ’58 Strat with blond finish.
 With the exception of a few Kalamazoo-built prototypes or one-offs in circulation, all Heritage 80s were made in the Nashville plant between 1980 and ’82. These have a unique sharp and wide cutaway at the horn, Grover kidney tuners, and an eight-digit serial number with four-digit number beneath it. There does not appear to be any pattern to the second four-digit number – it was used for marketing reasons to distinguish these guitars as limited editions by Bruce Bolen, then head of R&D.

They have a unique headstock shape and are are generally on the heavy side (high 9 to high 10 pounds), have the thin binding in cutaway, small black side dot markers, and a Nashville bridge. The backplates for the control cavity and switch are brown. The Gibson logo on the headstock has a closed “b” and “o” and a dot over the “i.” The necks on these guitars are of medium thickness. While not as close in terms of vintage specifications as the Guitar Trader and Leo’s LP models, they are well regarded guitars by many players and collectors and have excellent fit, finish, tone, and playability. Tim Shaw of Gibson at the time designed reissue PAFs for them which sound very good and have come to be known as “Shaw PAFs” in the collector community. The pickups are one double white and one zebra under the covers. The truss rod covers are inscribed with the model names.

The Les Paul KM model was made in the Kalamazoo plant in 1979, supposedly at the request of a southern sales district, according to one account (this history is refuted by another account). The guitar was intended be a sunburst Les Paul that more closely approximated ’59 Standard specs. The result, the KM model, is a nice guitar but does not come close to a ’59 reissue. The guitar has exposed-coil, double-cream, T-top humbuckers, speed knobs, large, black side dot markers, a Nashville bridge, stop tailpiece, Grover tuners, wide binding in the cutaway, brown backplates, and “Les Paul K. M. ” engraved on the truss rod cover. The guitar has an unusually wide headstock and a volute and three-piece mahogany neck. The Gibson logo on the headstock has a closed “b” and “o,” and no dot above the “i. ” The first run had a “Custom Made” plaque loose in the case or mounted below the tailpiece. The guitar was available in Antique Sunburst, Natural, or Cherry Sunburst finish. Many examples of this model in Bright Cherry Sunburst or Dark Sunburst have been available, many with plain tops. Some flametops were reportedly made, such as the example shown, many of which were shipped to Japan. A total of approximately 1,500 Les Paul KMs were made. Our model has a nice flame top and dark cherryburst finish. It weighs 9 pounds, 10 ounces.
Timm Kummer worked for Guitar Trader in the early ’80s. When the Les Paul KM model was introduced, it was so far off from ’59 specs that it prompted his boss, Dave DeForrest, to identify specifications for the order for the Guitar Trader Reissue Les Paul from Gibson, which weren’t until 1982 to produce.
 Guitar Maniacs brought many great Gibsons to Guitarlington 2015, including this ’57 ES-5, ’58 ES-335, ’58 ES-295, ’58 Les Paul goldtop, and a 2001 Les Paul ’59 Historic. Dang!
 Gary Hernandez is displaying this 1933 Gibson L-C “Century of Progress” at his Guitars West booth. The L-C features curly maple back and sides and a pearloid fingerboard and headstock..

 1930’s Vi Vi Tone Lloyd Loar – check out the sound holes under the bridge.
Fraternal twins – a ’55 on the right and a ’56 on the left.