TEST: Gibson Les Paul Standard 50s TB

 “A Les Paul Standard in the test? Are you kidding me? You could just as easily “test” a JCM 800 2203. What's the point of a test about an instrument about which everything you can possibly imagine has already been written about?" That's what many readers will probably think when they notice the announcement about this test. At first glance, there may be a lot of truth to this theory, but the Gibson company has had a very eventful past, especially when it comes to its main source of sales, so testing the current Gibson Les Paul Standard 50s TB (Tobacco Burst) is out of the question sometimes wrong.

Gibson and the Valley of Tears

Anyone who has been a Les Paul player since the beginning, like me, has certainly not had an easy time of it over the last 5 decades with the decisions that the various company management have made over the course of this time. Although the introduction of the oldest signature model in electric guitar history ever started in 1952, due to the huge success of Leo Fender's Broadcaster / Telecaster Offensive, it was comparatively jerky in several detailed solutions, but the model developed into an equal competitor by the end of the sixties the electric guitar industry, which Fender and Gibson have previously shared relatively evenly between themselves. Not to forget the legendary approx. 2,000 LP standards from 1958 - 1960, which are traded with an average price of approx. $500,000, and can easily break the 1 million mark with a well-known previous owner.

By the 1970s at the latest, when after the sale to the Norlin Group even the largest amount of wood waste was pressed into a kidney shape in the form of knotholes in order to squeeze the maximum profit from the brand, the throne of the company founded by Orville Gibson wobbled immensely . As soon as the quality had improved somewhat, the buyer's favor was once again put to the test with the forced introduction of the Robo Tuner, combined with the vibration-related imposition of a “chambered body” and culminated in the total capitulation in terms of external performance when Gibson preferred to perform hundreds in front of the cameras of instruments destroyed with saws, hammers and excavators for reasons that are still not really understandable, rather than, for example, donating them to charity. In addition, several manufacturers around the world are suffering from the legal frenzy of the Gibson Group's legal armada, so that one got the impression that Gibson was spending more manpower on protecting their designs through long-term lawsuits than on building proper guitars. Finally, there was the environmental scandal of 2009, when Gibson was found to have engaged in illegal logging in Madagascar. You can see a lot of strong tobacco.

It happened as it had to happen, the completely incompetent management team at the time was replaced as CEO by the new manager James Curleigh, who repeatedly emphasized in every interview that he now wanted to return to Gibson's old strengths and that everything would be fine again. Let's see whether he succeeds, because a lot has changed in the guitar sector in the last 50 years, which means that there are several hundred competitors who produce at the same or even higher level than Gibson.

The structure of the Gibson Les Paul Standard 50s TB

The standards of the instrument are basically always the same, it's the details that matter. If you spend “only” just under €2,300 on American production, you may have to cut back on one or two high-end areas, we’ll see. Let's start with the choice of wood. As always, mahogany as far as the eye can see with a two-piece maple top to boost the treble range and please the eye. In the model I have, the grain is rather subtle; with 4- to 5-fold A in curly or cloud maple, the VK should be correspondingly higher. The mahogany body is three-piece, the neck is one-piece, a good choice in my opinion. I own several Paulas with one-piece or multi-piece bodies, and I can't detect any different resonance behavior. In return, a one-piece mahogany body drives up the price massively, so it's a good choice.

When you pick up the instrument for the first time, you are actually reminded of the times when guitars were still played by “men” ;-) With a weight of 4.2 kg, the instrument is still less than that 5 kg and more sledgehammer Paulas from the eighties, but also well above the 3 kg average guitar league, for example in the Powerstrat range. When it comes to neck shaping, Gibson also fulfills his promise to stick as closely as possible to the legends of almost 63 years ago, meaning the neck is a strong C, but still far away from half the baseball bat class of the late 1960s. As expected, all other optical attributes such as the one-piece binding, the trapezoid inlays, one-piece pickguard, etc. also adhere to the specifications of the original. Only a few details such as the Graph Tech saddle have been changed compared to the bone saddle, which is very welcome for me personally for ethical reasons. The same applies to the paintwork, which was of course based on nitro, allows the instrument to have a maximum variety of vibrations with comparatively little protection and changes to the popular “crackling” quite early on.

The Burstbuckers 1 and 2 are used as pickups, which are modeled on the 57 Classic and, based on Alnico, have a few fewer windings on the coils than is generally the case. For maximum approximation, Gibson even added a few orange drop capacitors to the production model.

In practice

Even in dry operation you immediately feel that Gibson has apparently learned from its countless mistakes of the past. There it is finally again, the legendary vibration behavior of a high-quality wooden construction, in combination with perfect workmanship and the short scale length of 628 mm. The sustain is exceptionally good and the response of the instrument is exactly as you would expect from countless global hits from the sixties and seventies. Gone is the disgrace of the “Weight Relief”, which not only completely ignored the soul of the instrument (a Les Paul weighs as much as a Les Paul weighs as much as a Les Paul), but also castrated the vibration behavior as if with a butcher's knife. Some people still have to get used to the vintage flat frets due to the overpowering jumbo fret omnipotence, but this happens comparatively quickly. Oh yes, the fingerboard is made of rosewood. Unfortunately I couldn't find out which subspecies, but I'm very sure that it no longer comes from illegal harvesting.

The amplified sound does the rest to finally put a smile on the tester's lips again after 20 years of Les Paul agony of the saddest kind. In order to provide the model with an appropriate vintage partner in the area of amplification, I deliberately did not choose a modern high gain monster, but rather a suitable low gain variant in the form of the Sound City Master 100, in combination with a 412 Marshall the eighties, equipped with Celestion G12 65 vintage speakers and two Fame MS57 microphones and a Heil PR30. This was a wonderful way to capture the spirit of the early decades, with the amp generating a touch of fuzz at full load. A perfect interaction.

Of course you can also get high gain tones from the instrument, but the entire construction including the low gain humbuckers suggests the maximum use of lead sound gain. Old bands like Free, The Who, Stones or Led Zeppelin slip through your fingers as if by themselves with this setup and allow you to briefly immerse yourself in a glorious decade beyond backing tracks, Kemper and amp emulation plugins. Splendid …

Conclusion

With the Gibson Les Paul Standard 50s TB, the US company apologizes for the many mistakes of the past and offers the musician an outstanding instrument with the flair of having invented rock'n'roll together with the Startocaster. The instrument is excellently made, offers excellent vibration behavior and gives the user exactly the feeling you would like to experience with a Paula. Nothing against the countless Luthiers who enrich the guitar market with absolute top products, but if Gibson can maintain this level of quality in the future, they can finally look back with pride on the luck of their early birth and present themselves with an upright posture.

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Additional Informations:

Introduction:
The Tobacco Burst finish is an iconic hallmark of Gibson Guitars, revered by musicians and collectors alike for its timeless elegance and vintage appeal. Originating in the mid-20th century, this distinctive finish has become synonymous with classic rock 'n' roll aesthetics and has left an indelible mark on the world of electric guitars. Exploring the genesis of the Tobacco Burst finish reveals a fascinating journey of innovation, craftsmanship, and artistic expression within the storied history of Gibson.

The Birth of Burst Finishes:
The concept of burst finishes, characterized by a gradual transition from a darker hue at the edges to a lighter shade at the center, first emerged in the early 20th century within the realm of violin-making. Master luthiers would employ techniques such as hand-staining and shading to enhance the visual appeal of their instruments, imbuing them with a sense of depth and sophistication.

In the 1950s, as Gibson expanded its lineup of electric guitars, the company sought to differentiate its instruments with distinctive finishes that would capture the imagination of musicians. Inspired by the craftsmanship of vintage violins and the desire to create visually striking guitars, Gibson introduced burst finishes to its electric guitar models, including the iconic Les Paul.

The Development of Tobacco Burst:
Among the various burst finishes pioneered by Gibson, the Tobacco Burst quickly emerged as a standout option, prized for its rich, warm tones and vintage aesthetic. The name "Tobacco Burst" evokes images of aged tobacco leaves, with hues ranging from deep browns to golden amber, creating a sense of warmth and character.

The precise origins of the Tobacco Burst finish within Gibson's production timeline are somewhat shrouded in mystery, with conflicting accounts and variations over the years. However, it is widely believed that the Tobacco Burst finish gained prominence during the late 1950s and early 1960s, coinciding with the heyday of rock 'n' roll and the rise of iconic Gibson models such as the Les Paul Standard and the ES-335.

Craftsmanship and Technique:
The creation of the Tobacco Burst finish required a combination of skillful craftsmanship and meticulous attention to detail. Gibson's master finishers employed a variety of techniques to achieve the desired effect, including hand-spraying layers of nitrocellulose lacquer, shading the edges with precision, and meticulously blending the colors to create a seamless transition.

Each Tobacco Burst finish was a work of art in its own right, with subtle variations and nuances that added to its allure. The aging process of the nitrocellulose lacquer over time would further enhance the finish, giving it a distinctive patina and vintage character that is highly sought after by collectors and enthusiasts.

Cultural Impact and Legacy:
The Tobacco Burst finish quickly became synonymous with the golden era of rock 'n' roll, adorning the instruments of legendary musicians such as Jimmy Page, Eric Clapton, and Duane Allman. Its timeless appeal transcended musical genres, spanning blues, rock, jazz, and beyond, cementing its status as an iconic symbol of vintage guitar craftsmanship.

Over the decades, the Tobacco Burst finish has remained a staple of Gibson's product lineup, adorning a wide range of electric guitar models, from the Les Paul and SG to the ES series and beyond. Its enduring popularity speaks to its timeless elegance and universal appeal, serving as a testament to the enduring legacy of Gibson Guitars and the artisans who craft these instruments with passion and precision.

Conclusion:
The Tobacco Burst finish stands as a testament to Gibson's commitment to excellence and innovation in guitar design. From its humble beginnings as a nod to vintage violin-making techniques to its status as a cultural icon, the Tobacco Burst finish has captivated generations of musicians and enthusiasts with its beauty, warmth, and character. As Gibson continues to evolve and innovate in the 21st century, the Tobacco Burst finish remains a shining example of the company's rich heritage and enduring legacy in the world of electric guitars.