The Enigma of the ’59 Les Paul: Understanding the ‘Double O’ phenomenon
What defines a ’59 Les Paul? Surprisingly, the answer can be quite complex, especially when discussing the ‘double O’ models. While many enthusiasts picture the 1960 Les Pauls adorned with striking cherry sunbursts, reflector knobs, and slimmer necks, thes characteristics were not implemented from the very begining of that year.
Throughout much of 1960, Gibson continued too produce Les Pauls utilizing components-necks, bodies, and pickups-crafted in 1959. These early 1960 models,often referred to as ‘Double O’s due to their serial numbers starting with two zeros,exhibit the same look,feel,and sound as their 1959 counterparts.
fading Colors and Changing Trends
Gibson likely recognized the issues with fading finishes. The aniline red dye commonly used was not resistant to light, leading to rapid bleaching when exposed to sunlight. Interestingly, sunburst Les pauls were not initially in high demand due to their hefty price tags and perceived weight.
It wasn’t until the introduction of light-fast red pigments that Gibson transitioned away from aniline dyes, resulting in the late-1960s sunburst style, frequently enough dubbed ‘tomato soup’ due to its distinct hue.
Personal Experience with a 1960 Model
Having owned an early 1960 model for around seven years, I can attest to its striking resemblance to a 1959 in terms of color. The guitar retains a rich, unfaded aniline dye and weighs in at 9lb 9oz. Despite its weight, it is well-balanced, making it agreeable to play without excessive strain on the shoulders. The back shows some signs of wear, which I affectionately refer to as ‘spaghetti marks,’ especially around the upper bout near the switch plate.
Pickup Performance and Modifications
The neck pickup measures 8.23k while the bridge pickup is at 8.32k, indicating a well-matched set. Both pickups feature double black bobbins, and the covers remain intact. They produce a robust sound, but rolling back the volume to around 8 or 9 reveals a sweeter tone.
While the tuner buttons have been replaced with Uncle Lou’s due to shrinkage and deterioration, the rest of the guitar remains original, with minimal wear on the fingerboard.Initially, I suspected it had been refretted, but the frets are indeed original and in excellent condition.
Exploring the Variability of Double O Models
Double O models frequently enough receive mixed reviews, especially as many associate ‘1960’ with less desirable traits. However, having examined numerous examples-currently, I have 12 in my collection-I can confirm that there is notable variation among them.
The earliest models feature relatively thick necks that feel comfortable, while one of my later 1960s has an exceptionally thin neck, almost like a blade.These changes were gradual, not abrupt, reflecting Gibson’s evolving design beliefs.
Understanding Tone and Wood Characteristics
There’s a common belief that thinner necks alter the sound of Les Pauls, but it’s essential to recognize that each piece of wood has its unique tonal qualities. I’ve encountered some slim-necked 1960s that produce a richer sound than certain 1959 models. Ultimately, the tonal characteristics depend more on the quality of the wood than on neck thickness.
What I can tell you is that there are really good ‘Bursts, average ‘Bursts, and some that are not that good at all.
The Collector’s Market and the Rise of double O Models
During a time when the collector market was fixated on 1959 Les Pauls, the 1960 models were largely overlooked. I took advantage of this trend, acquiring several Double O models, often found at guitar shows where they were misclassified as either ’59s or ’60s. I particularly sought out the early models, which retained desirable 1959 specifications until serial numbers starting with 02 began to emerge.
In my experience, there are remarkable ‘Bursts, mediocre ones, and some that simply don’t measure up. I would rate this particular guitar above average, though I wouldn’t claim it to be the best I’ve owned. Its weight is a drawback; while it’s suitable for studio use or seated performances, I wouldn’t want to stand and play it for an entire gig.
The variation in weight among ‘Bursts is significant, highlighting the fact that Gibson produced these instruments with whatever materials were available at the time.
- David Davidson, a vintage guitar expert, owns Well Strung Guitars in farmingdale, New York / [email protected] / 001 (516) 221-0563
- This article originally appeared in Guitarist. Subscribe and save.
