1959 Les Paul Build

Discussion in 'Tele Home Depot' started by preeb, Jan 14, 2010.

  1. Leigh

    Leigh Tele-Meister

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    This is going to be amazing. Learnt loads just watching the templates being made!

    Are those plans available online?
     
  2. Zeppelanoid

    Zeppelanoid Tele-Meister

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    Correction on the Correction

    This is going to be legen......wait for it.......keep waiting........your patience will soon be rewarded.......-DARY!
     
  3. mcomio

    mcomio TDPRI Member

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    Ummm,let's recapitulate....
    You're software engineeer during the day
    You play bass in a band at night
    You are mountain biker at weekends
    You have family
    You have kid(s)

    And I almost forgot you build guitars.... spectacular guitars.
    The way I see it ,your luthier skills are matched only by your talent to squeeze all of the above, in 24/7 routine.Thumbs up all the way.

    I did a few guitars over the years and I am thinking about burst,for two years now.
    This thread did it,it definetly is a kick in the right direction for me.
    Im doin it :D
    So thank you for that.

    And of course I'm sure this newest baby of yours will be spectacular
    as all the others so far.
     
  4. DMichel123

    DMichel123 Tele-Meister

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    Les Paul didn't like the PAFs, though. Did he?
     
  5. mlp-mx6

    mlp-mx6 Tele-Holic

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    Les preferred low-impedance pickups. It seems he hated PAFs and any other high-impedance pickup.

    Listen to "Chester and Lester" and you'll hear what low-impedance pickups sound like. Les liked the "clarity" - what some today would call crispness, I think.
     
  6. Sterling Sound

    Sterling Sound Tele-Meister

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    Also the clearer the pickup the more versatile it becomes. The main benefits of a good pickup are preserved when you keep it low output I think... loads of highs, expressiveness, dynamics. Those are all aspects you can 'decrease' after the guitar using effects or amplification, but it's impossible to add in.
     
  7. Mojotron

    Mojotron Poster Extraordinaire

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    I think some would say that PAFs are low impedance by today's after-market pickup standards.

    I love 7k-8k Alnico 2/4/5 PAFs style pickups they have all of the right compromises to make a really great sounding pickup that has just enough of everything. The PAF was a great design - I wonder if they were shooting for a P90 without the noise/hum when they were designing them? They used the same magnets.
     
  8. AnthemBassMan

    AnthemBassMan Tele-Holic

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    -I believe they were. I remember reading quite a few times that the PAF was Gibby's attempt to make a quieter P90. To me, overwound p'ups just sound too honky. I like the openess of a lower output p'up. Must be why I like Strat p'ups better than high output 'buckers. But I do like my DiMarzio Virtual PAFs. 7.9k and 8.3k of vintage toned sweetness. With just a little twist of course...

    L8R,
    Matt
     
  9. preeb

    preeb Poster Extraordinaire Vendor Member

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    DCR means much less than some might think. It's highly overrated (-;
    It's all about frequencies, dynamic range and magnetic field sensitivity.
    It's true that more wounds (higher DCR) will drop the resonant frequency of the coil but this is just one factor in the mix.
    Just to emphasize the point a bit, If guitar amps were, theoretically speaking, keeping the amplified signal on a 1:1 ratio to the input across the entire audible range (40-14K Hz) or in other words "Totally flat" like a good stereo PA, then DCR would be the key factor.
    But fortunately this is not the case. Flat amplification for guitars would sound bad even to alien life forms (with ears) that never heard an electric guitar in their life time (-;
    Amps are an integral part of the sound chain, and TMHO, as important as the guitar itself (leaving the player out of the loop of course) . When filtering certain freq ranges out or boosting others, combined with the dynamic response of the amp to the freq range and the attack of the input signal we create "the sound".
    Now, back to my point, if a pu has it's resonant freq at lets say 8K, its harmonic sensitivity will fall around this pick point and by moving it up or down we change the entire "flavor" of the pu. Less or more DCR (or wounds) will get this point higher or lower *BUT* depending on the amp's nature and eq setup it might get partially canceled or boosted or both... etc....
    Same kind of relationship is going on between the pu and the guitar itself. If the guitar freq response is not matched well with the pu's you'll get a thin, muddy or hollow sound. This explains why some guitars sound killer through some amps and why a pu sounds great on one guitar and bad on the other. Mostly, it's a matter of luck and a good ear to choose your gear correctly.
    The main point is that the pu and amp designs are controllable but wood is wood and the important thing is to select the right woods for the right build and match the pu to the guitar. The amp territory is not a big issue because most good amps are... well... good enough to handle many types of guitars and most serious players (Hey... I said players!!!) can initially select a desired and preferred starting point between a master/non master volume, tube types, gain, etc.... Fenders, Marshalls, Voxes.... you know the list... and hey... they even come with gain and eq knobs (-;

    P.S.
    Early PAF's have different pick points for each coil because they were not matched and the more mismatched the points are the more "quacky" the sound is. This has nothing to do with the DCR but rather with the DCR difference between both coils on the same pu. You can also hear this "quackiness" on Strats and Teles when combining pu's. A strat with a weaker (less DCR) middle pu will be more "quacky".
    If the points are different but not too far off (about 100-200 wounds apart) the result is a smoother "combed frequency range" which reminds a very soft chorus effect without the vibrate.
     
    Last edited: Jan 16, 2010
  10. Nick JD

    Nick JD Doctor of Teleocity Ad Free Member

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    Is the 59 neck different to other LP necks? Why do you need to make another template?
     
  11. preeb

    preeb Poster Extraordinaire Vendor Member

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    Of course I had to do the full template set Nick... it's not a usual thing for me to have a 59 original at home for inspection.
    It was a bit different than my other template set.
    The scale was a hair shorter the neck width at the nut was a hair wider (1 23/32") and the neck angle was different.
    Most differences are minor and are probably a result of manual sanding but some issues are important such as the MOP logo placement, headstock corners, depth of truss rod channel on tenon end... etc
    The weirdest thing was the back covers. I had a brown set from an early-mid 50's that was left here after a conversion I did. I know they are 100% original and assumed they are the same shape as 58-60 but I was surprised to find otherwise... so that was another reason to get rid of the old template set. I know all those little things are so minor that nobody could spot them but if *I* know about it... it bugs me a lot. for example, I don't want to hear that an original cover set will not perfectly fit on my replicas... it's either 100% or not and it's those smallest things that will make it 100% accurate.
     
  12. kman900

    kman900 Tele-Afflicted

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    Gil, you're my hero!

    Thank you for another great build!
     
  13. AnthemBassMan

    AnthemBassMan Tele-Holic

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    -Love this stuff.... Keep it coming. I'm starting to get an itch of building a guitar, not from a kit, once things are settled down here.

    L8R,
    Matt
     
  14. geardog

    geardog TDPRI Member

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    What a cool Thread/Build
     
  15. mrmorrison

    mrmorrison Tele-Afflicted

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    Beautiful work. Shabat Shalom! :)
     
  16. ksharpe10

    ksharpe10 TDPRI Member

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    Absolutely had to chime in on this one. Wow, Gil finally tackling the big FISH. Now how in the world are you gonna fit it in, thought the shop had to be enlarged? Of course this is just the proto build. There was a thread at mylespaul forum, recently about the 2 scales used to build the late 50's Les pauls, and Gil knows it well, the second scale starts after the 12 fret, one of the luthiers at mylespaul said, "and it does play perfectly in Tune", I think they referred to it as being a HYBRID scale,so we will see what Gil comes up with. I can't wait for the pickup build, just to see what he comes up with. My take on what was said about the DCR stuff is, if a pickup is cleaner you can always dirty it up, effects etc. But to get it cleaner from dirtier is alot harder or impossible, this is from a players perspective. I do not like the Ceramic Gibson pickups that are in their newer guitars, Great for Heavy metal, Loud music. Too brittle for my tastes, excessive crunchiness, but some people like this type sound, so it is to each his own. Also it is a fairly well known fact that in the standard model, which is the gold tops, bursts, les paul model not the Custom model that does come with real block MOP inlays, the standard inlays, the trapezoids were made of Gil's favorite Celluloid Nitrate, like those Tortoise shell pickguards. Hope this does not get us doing to much Hijacking of Gil's great build thread. Just wanted to post what some of the Gibson pros, are talking about over at Mylespaul, they have some great builders on their forum as well. This build outta be over there as well, maybe when finished. You can always edit my Hijacking out, Thanks Ksharpe10
     
  17. stucliff

    stucliff TDPRI Member

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    Great Work!

    Your templates are amazing. I think that you're the first one to make a kind of "tutorial" for templates. And they're really important in a build!

    I'm just about to make a template so this thread is almost "custom made" for me.

    One silly question. What kind of glue do you use to glue the paper to the HDF board? I've tried a few and none has really done it well.

    Thanks
     
  18. ksharpe10

    ksharpe10 TDPRI Member

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    Dear Gil, I forgot,and was curious to read more about. How did the fret job go on this Original 59 guitar? Had to be rough with not damaging the binding, which by now would be rather more brittle then when original, was it tough going? Maybe this should be a new thread, at a Les Paul forum? Thanks, for any answer. Ksharpe10
     
  19. preeb

    preeb Poster Extraordinaire Vendor Member

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    A 2 week nightmare. I'll never ever do this again in this lifetime.
    At least I worked hard to deserve those blueprints.
    It came out as ordered - Undetectable. I believe I could have done it in 1 day if it wasn't for keeping the original bindings... I still dream about cutting and smoothing fret ends at night...
    I started by using a dummy fingerboard, installed the frets the usual way and sanded the edges etc... then I pulled them out but I couldn't get it 100% accurate and my plan for a quick job has evaporated... (-;
     
  20. dog fart

    dog fart Friend of Leo's

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    This is, and I despise using this word, awsome. That word is overused and does not do justice to the work being done and the information being dispersed. I'm subscribing to this thread and will be following it closely.
    My only suggestion is not to use your finest top on a proto build. All the tops shown are beautiful and would make any Les Paul owner proud. Just save the best for a special occasion. Can't wait to see what tommorrow brings.
    D F
     
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