TEST: Gibson Les Paul Junior

 We jump back 6 decades and write the year 1958. America's former flagship guitar manufacturer Gibson is fighting with all means against the ever-increasing popularity of the Fender Stratocaster and is desperately trying to put its flagship Les Paul in the limelight. As early as 1954, Gibson took a multi-pronged approach to its model policy and tried to offer the Les Paul model, which was relatively expensive due to the amount of manual work, in cheaper regions in order to be able to compete with the price of the Stratocaster, which was made from regional wood and partly by semi-skilled workers. In addition to the standard version and the even more expensive custom version, Gibson is launching the Special for those on a budget and, as the simplest model for students and other hungry people, the Gibson Les Paul Junior.

Finally, in 1958, the quartet was able to position itself even better thanks to the invention of the humbucker pickup in 1957, compared to the custom (gold hardware, black), standard (in sunburst, today worth up to half a million euros, even more with famous previous owners , also painted opaquely as Gold Top), the Special (2 P-90 pickups without any prettification) and the Junior, which “only” has a second cutaway as a simple board with just one pickup. The latter model, which was discontinued in 1963 and reanimated in 2001, is now available for testing. By the way, the model is clearly ahead of its time, according to the stamp it is a 2019 model, and the serial number also takes us into the future...

The concept of the Gibson Les Paul Junior

As the “dirty little sister” of the Les Paul Standard mother, the path of the “Plank” was quickly mapped out. The burgeoning rock'n'roll in dirty and small clubs called for a guitar that could handle a lot, forgive a lot and also sound well in the mud of the cellar. Equipped with probably the best single-coiler ever built, the Gibson Les Paul Junior achieved a unique sound with powerful crunch that was snappy but not cutting. Punk with all its variations seemed predestined for the sound of this instrument; it is not for nothing that Billie Joe Armstrong from pop punk band Green Day is currently the most famous and successful Gibson Les Paul Junior player.

Fat lead sounds and singing solo passages were and will probably never be the maxim of the Gibson Les Paul Junior, but in the hard rhythm range no one can give this instrument a run for its money. However, the originals from 60 years ago often suffered from various hardware problems, so we will focus primarily on this point and the choice of wood.


The construction of the Gibson Les Paul Junior

Mahogany as far as the eye can see, at least that's how it was in the original edition from the fifties. The 2019 version broke with this doctrine in that the neck was now made of maple, which is generally said to have a stronger treble presence. A rosewood fingerboard (Dalbergia latifolia) and a three-piece mahogany body complete the wood selection. Experts are still arguing about whether a one-piece body can be distinguished from a multi-piece body in terms of sound, so I too am cautious about whether the sound can be improved.

The fact is, however, that the body construction was primarily about savings. The body consists of 3 pieces of different sizes, which you could just barely use as waste. The paintwork is also not opaque, but rather open-pored, which reveals another visual flaw. As is well known, mahogany is a comparatively brittle wood that tends to crumble, especially when machines are used. This appears to have been the case several times during the production of the Gibson Les Paul Junior.

In the curves of the cutaways we have long had unclean finishes in the direction of growth of the wood, which were not really neatly refinished by hand. You almost get the impression that the CNC milling was just done before painting. Of course, this requires manual work and it costs money. The negative highlight, however, is the saddle, which although it sits cleanly, leaves an impression on the outer edges as if it had been “ticked off” with a box knife. Sorry, with “Made in USA” something like that doesn’t work with the best will in the world.

When it comes to hardware, Gibson once again relies on the simple but tried and tested Deluxe versions, while a compensated wraparound bridge is used as the bridge. The octave purity is roughly specified and can usually be adjusted 90% satisfactorily for the majority of all string sets. However, a wound G string is out of the question for this bridge.


The Gibson Les Paul Junior in practice

Sound files are always a nice thing, but on the one hand pure guitar sounds are generally quite boring and on the other hand they lack the context of a band sound. In order to test the assertiveness of the Gibson Les Paul Junior in this context, I recorded a few simple backing tracks that the guitar can lay on. It was played on a Marshall 2203 head from 1976 and a Marshall 412 260 watt cabinet from the eighties, and the recording was done on an SM57 plus Mackie 32-8-8 console.

Already from the first notes of the clean sound you can hear the reason why this instrument has survived to this day despite its completely unadorned, even inconsequential appearance. The construction sounds incredibly good, which is particularly due to the P-90 pickup. The sound is powerful in the mids with plenty of attack, without having to fear the sometimes cutting sound of a Fender single-winder. The sound is very dynamic and depends very much on the musician's approach.

What turns out to be an absolute joke, however, is the 009 phrase that was added at the factory. Despite the flat vintage frets, a lot of my energy goes into not using my fretting hand too hard and destroying the intonation. In addition, almost every touch makes a buzzing sound, which is also due to my playing style. In my opinion, an instrument like the Gibson Les Paul Junior should receive at least one 011 set, which would be very beneficial for its use on the rhythm level.

With the first crunch sounds the sun finally rises. It's hard to describe how the archaic duo Gibson - Marshall finds each other again. No stompbox, no emulation, no post-processing, no nothing and the sound is just great. The classic rock sound par excellence, which produces one classic sound after the other depending on the musician's skills.

However, if you are looking for high gain sounds, you are in the wrong place here. One is inclined to say that once the gain factor reaches a certain point, the P-90 simply stops working and then it simply doesn't want to work anymore. Interestingly, the typical single-spool feedback only sets in very late. The generally higher electromagnetic field interference compared to the humbucker was also limited. Apart from a moderate mains hum, I couldn't make out any background noise.

The tone control was designed to be very extreme, probably in order to give the purist guitar a second sound. If you turn the control all the way down, the instrument sounds like a wah-wah pedal in the heel position with a thick wool blanket over the speaker. Nicely meant, but only to be used for experimental sounds. Well, maybe add a really broken fuzz to the amp and then tackle the Billy Gibbons memory sound.

Even with single notes, the guitar makes a slender footing. The instrument masters funky lines and chord patterns in the Nile Rodgers style as well as typical Prince passages, whereby the guitar can also fully exploit its dynamics here. The attached sound file was recorded with a comparatively high gain, but the end result is still moderately crunchy, simply because I play the individual parts with a fairly high dynamic.

Conclusion

With the Gibson Les Paul Junior, two different parameters of buyer popularity come together. The almost blunt and in no way “Made In USA” processing is juxtaposed with one of the greatest rock sounds of our time. The P-90 construction delivers everything that is needed in terms of rhythm sounds, from clean to funk, AOR, classic rock to hard rock, with such ease that the whole pedalboard mania can make you fear and anxiety.

Anyone who dares to give up compression and high gain security for direct dynamic response should definitely give this instrument a try. Whether Gibson can continue to afford such gross manufacturing quality in their own country, especially given their already very difficult company situation, remains to be seen.

———————-

Additional Informations:

Introduction:
Gibson Guitars stands as an iconic brand in the realm of musical instruments, renowned for its craftsmanship, innovation, and enduring influence on popular music. The journey of Gibson spans over a century, marked by triumphs, challenges, and milestones that shaped the landscape of guitar manufacturing and music culture. From humble beginnings in Kalamazoo, Michigan, to global recognition as a premier guitar maker, the story of Gibson is a testament to entrepreneurial spirit, technical prowess, and artistic vision.

The Early Years:
The roots of Gibson Guitars can be traced back to the late 19th century when Orville Gibson, a talented luthier, began crafting mandolins in his small workshop in Kalamazoo, Michigan. His innovative designs and meticulous craftsmanship soon garnered attention, laying the foundation for what would become one of the most celebrated guitar companies in history.

In 1902, Orville Gibson founded the Gibson Mandolin-Guitar Manufacturing Company, marking the official beginning of Gibson's legacy. His early instruments featured groundbreaking designs, such as arched tops and f-holes, which set them apart from traditional flat-top guitars of the time. These innovations not only improved the sound quality but also established Gibson as a pioneer in instrument design.

The Arrival of Lloyd Loar:
One of the pivotal moments in Gibson's history occurred in the 1920s with the arrival of Lloyd Loar, a brilliant engineer and musician. Loar's revolutionary ideas transformed Gibson's instruments, elevating them to new heights of tone and playability. His contributions include the development of the Lloyd Loar-signed Gibson F-5 mandolin, revered for its superior sound and craftsmanship.

Loar's influence extended beyond mandolins, as he played a key role in the design of the Gibson L-5 guitar, which became the world's first commercially successful archtop guitar. His meticulous attention to detail and insistence on quality control set a standard that would define Gibson's reputation for decades to come.

The Golden Age:
The period between the 1930s and 1950s is often referred to as Gibson's "Golden Age," characterized by innovation, prosperity, and artistic achievement. During this time, Gibson introduced some of its most iconic instruments, including the Gibson ES-150 electric guitar, which revolutionized the music industry by popularizing the electric guitar in jazz and popular music.

In 1952, Gibson unveiled the Les Paul model, named after the renowned guitarist and inventor, Les Paul. The Les Paul quickly gained popularity among musicians for its solid body design, powerful sound, and innovative features such as the adjustable bridge and dual-coil pickups. It remains one of the most iconic electric guitars of all time, synonymous with rock 'n' roll and modern music.

Another milestone of the Golden Age was the introduction of the Gibson SG in 1961, originally marketed as the "Les Paul SG." Its lightweight design and aggressive tone made it a favorite among rock guitarists, further solidifying Gibson's reputation as a leader in electric guitar innovation.

Challenges and Rebirth:
Despite its storied history, Gibson faced significant challenges in the latter half of the 20th century, including changes in ownership, financial struggles, and increased competition from foreign manufacturers. In the 1970s and 1980s, quality control issues and management changes led to a decline in Gibson's reputation and market share.

However, the company experienced a resurgence in the late 20th century and early 21st century, thanks to strategic partnerships, revitalized product lines, and a renewed focus on craftsmanship and innovation. Under the leadership of CEO Henry Juszkiewicz, Gibson underwent a transformation, expanding its reach into new markets while reaffirming its commitment to quality and tradition.

Gibson Today:
In the 21st century, Gibson continues to thrive as a leading manufacturer of guitars, basses, and other musical instruments. The company's product lineup includes a diverse range of models, from timeless classics like the Les Paul and SG to modern innovations such as the Gibson Firebird X and the Gibson Robot Guitar.

In addition to its core guitar business, Gibson has expanded its offerings to include lifestyle products, accessories, and digital services, catering to the evolving needs of musicians and enthusiasts worldwide. Through strategic acquisitions and partnerships, Gibson has diversified its portfolio to include brands such as Epiphone, Kramer, and KRK Systems, further solidifying its position in the music industry.

Conclusion:
The story of Gibson Guitars is one of resilience, innovation, and enduring legacy. From its humble beginnings in a small workshop to its status as a global powerhouse, Gibson has remained at the forefront of guitar manufacturing for over a century. With a commitment to quality, craftsmanship, and artistic expression, Gibson continues to inspire musicians and shape the future of music for generations to come.