The guitar was designed by factory manager John Huis and his team with input from and dorsemt by guitarist Les Paul. Its typical design features a solid mahogany body with a carved maple top and a single cutaway, a mahogany set-in neck with a rosewood fretboard, two pickups with indepdt volume and tone controls, and a stoptail bridge, although variants exist.
The Les Paul was originally offered with a gold finish and two P-90 pickups. In 1957, humbucking pickups were added, along with sunburst finishes in 1958. The 1958–1960 sunburst Les Paul, today one of the best-known electric guitar types in the world, was considered a commercial failure,
With low production and sales. For 1961, the Les Paul was redesigned into what is now known as the Gibson SG. The original single-cutaway, carved top bodystyle was re-introduced in 1968. The Les Paul has be produced in many versions and editions since. Along with Fder's Telecaster and Stratocaster, it was one of the first mass-produced electric solid-body guitars. Due to their versatility, Les Paul electric guitars have be used in a wide range of music gres, including rock, country, pop, soul, rhythm and blues, blues, jazz, reggae, punk, and heavy metal.
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In 1950, the ancestors of the Fder Telecaster (Fder Esquire and Fder Broadcaster) were introduced to the musical market and solid-body electric guitars became a public craze. In reaction to market demand, Gibson Guitar presidt Ted McCarty brought guitarist Les Paul into the company as a consultant.
Les Paul was a respected innovator who had be experimting with guitar design for years. He had hand-built a solid-body prototype nicknamed The Log, named after the pine block running through the middle of the guitar whose width and depth are a little more than the width of the fretboard. Convtional hollow guitar sides or wings were added for shape. In 1945 or 1946, Paul had approached Gibson with The Log prototype, but his design was rejected.
In 1951, McCarty and his team at Gibson began work on what would evtually become the Les Paul Model. Early prototypes of the Les Paul model are very similar to the final version.
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The new Les Paul guitar was to be an expsive, well-made instrumt in accordance with Gibson's reputation at the time, and distinct from growing rival guitar manufacturer Fder's models.
McCarty approached Les Paul for the right to imprint the musician's name on the headstock with the inttion of increasing sales; in 1951, Gibson prested Paul a nearly finished instrumt for approval. McCarty stated that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased dsity and sustain, which Les Paul had requested reversed. However, this reversal would have caused the guitar to become too heavy, and Paul's request was refused.
Paul states that the original Custom should have had the maple cap and the Goldtop was to be all mahogany. The Custom did not appear on the market for another two years following the introduction of the Goldtop; it is possible that Gibson had planned a full model range of guitars (with a roll-out over the course of several years) at the time wh initial specifications were being set.
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Les Paul's contributions to the guitar line bearing his name were more than cosmetic; for example, Paul specified that the guitar be offered in a gold finish, not only for flashiness, but to emphasize the high quality of the Gibson Les Paul instrumt.
Later Les Paul models included flame maple (tiger stripe) and quilted maple tops, again in contrast to the competing Fder line's range of car-like custom color finishes.
The 1952 Les Paul featured a mahogany body with a one-inch-thick maple cap, a mahogany neck with a rosewood fretboard, two P-90 single coil pickups, and a one-piece, 'trapeze'-style bridge/tailpiece with strings fitted under (instead of over) a steel stop-bar.
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The guitar made its public debut wh Paul used it onstage in June 1952 at the Paramount theatre in New York. On July 24, 1952, at a special musicians clinic at the Waldorf-Astoria hotel, it was previewed by promint guitarists such as Tiger Haynes, George Barnes, Mundell Lowe, Tony Mottola, and Billy Mure.
A second Les Paul model was introduced in 1953. Called the Les Paul Custom, this black guitar with gold-plated hardware was dubbed the Black Beauty.
New bridge and tailpiece designs were rapidly adopted. The one-piece wraparound stopbar was introduced in 1953. The following year saw the introduction of the fully-adjustable Tune-o-matic bridge.
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The Goldtop and Custom models continued without significant changes until 1957. New humbucker pickups designed by Seth Lover in 1955 debuted on Les Pauls in 1957 and P-90 pickups were no longer offered.
These pickups carried the markings PAF, for Patt Applied For (referring to U.S. patt 2, 896, 491). This innovation in pickups became the flagship pickup design most associated with Gibson. Many other guitar companies followed suit, outfitting their electrics with versions of the humbucking pickup.
In 1958, the Les Paul saw its first major design change. A new model, called the Standard, retained most features of the 1957 Goldtop. However, Standards featured a cherry-red sunburst finish. These guitars were priced higher than the Goldtop models, but lower than the Customs. At this time, Gibson instrumts were marketed toward an older, jazz-orited audice rather than young burgeoning guitarists. As a result, over the three-year period of production, only about 1, 700 Standards were made.
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These Les Pauls were considered to be too heavy and old-fashioned, and they initially did not find favor amongst guitarists. In 1961, Gibson stopped producing the traditional Les Paul in favor of a lighter redesign which was later called the SG.
The mid-1960s, however, brought a resurgce of interest in the Les Paul Standard. In 1964, The Rolling Stones' Keith Richards began using a sunburst, 1959 Les Paul Standard — becoming the first star-guitarist to play a Les Paul on the British sce.
The guitar, outfitted with a Bigsby tailpiece, served as one of the guitarist's promint instrumts and provided the first impetus to the use of Les Pauls during the British blues boom.
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In 1965, Eric Clapton began using Les Pauls because of the influce of Freddie King and Hubert Sumlin, and played a 1960 Standard on the groundbreaking album Blues Breakers with Eric Clapton.
In America, Mike Bloomfield began using a 1954 Les Paul goldtop while touring with the Paul Butterfield Blues Band, and recorded most of his work on the band's East-West album with that guitar. A year later, he traded it for a 1959 Standard with which he became most idtified. By 1967, Jerry Garcia of the Grateful Dead was using mid-1950s, P-90 pickup-equipped goldtops or black custom models, which he used through 1968.
Concurrtly in the late 1960s, artists such as Peter Gre, Jeff Beck, Paul Kossoff, and Jimmy Page began using sunburst Les Paul Standards. Responding to this influce and increased pressure from the public, Gibson reintroduced the Les Paul single-cutaway guitar in July 1968, and the guitar remains in production today.
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These ownership changes, oft called the Norlin Era, caused Gibson products of the time to undergo changes in manufacturing and construction. Les Paul designs were altered and a reinforced upper neck volute was added to decrease headstock breaks.
The body was also changed from one-piece mahogany with a maple top to multiple slabs of mahogany with multiple pieced maple tops. This is referred to as multipiece construction, and sometimes incorrectly referred to as a pancake body.
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The expression pancake body actually refers to a body made of a thin layer of maple sandwiched betwe two slabs of mahogany, with a maple cap.
The grain of the maple was placed at 90 degrees to that of the mahogany. The pancake-like layers are clearly visible wh looking at the edge of the guitar. This process is also known as crossbanding, and was done to make use of less expsive and more readily available thinner mahogany. Crossbanding was phased out by 1977.
In this era, Gibson began experimting with new models, such as the Les Paul Recording. This guitar was gerally unpopular with guitarists because of its complex electronics. Less noticeable changes included, but were not limited to, optional maple fingerboards (added in 1976), pickup cavity shielding, and the crossover of the ABR1 Tune-o-matic bridge into the wide Nashville bridge. During the 1970s, the Les Paul body shape was incorporated into other Gibson models, including the S-1, the Sonex, the L6-S, and other models that did not follow the classic Les Paul layout.
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In January 1986, Gibson again changed ownership and began manufacturing a range of varied Les Paul models. The 1980s also saw the d to several design characteristics, including the volute and maple neck. However, because of consumer demand, the Gibson Les Paul guitar is available today in a wide array of choices, ranging from guitars equipped with modern digital electronics to classic re-issue
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