
The covers to these PAF humbuckers had never been removed until this guitar was evaluated for sale.
A see-through cherry factory-finish 1960 Gibson Les Paul Custom? You bet your meatballs!
Ted McCarty, the man most responsible for the creation of the Gibson Les Paul and the president of the company during its golden era, never spared his criticism of the competition at Fender. He sniped to guitar writer Tony Bacon that Fender didnāt even own a carving machine, adding, āthey joined their neck with a plate in the back of the guitar!ā In another interview, he told author Tom Wheeler, āIt didnāt take a great deal of skill to build a plank guitarāāan insult that, for some, still carries a barb all these decades later.
So, when McCarty and the Gibson team deigned to make their first solidbody Spanish-style electric, they pulled out all the stops, creating the carved maple top, famous gold finish, expert binding, and trapezoid inlays of 1952ās debut Les Paul. But, lo and behold, the Les Paul Custom model that was unveiled one year later was even fancier. McCarty, with input from Les himself, outfitted the Custom with more intricate binding, gold hardware, a split-diamond headstock inlay, an ebony fretboard, and a tuxedo-like finish that inspired a lasting nickname: the Black Beauty.
In profile, this 1960 Gibson Les Paul Customās see-through finish seemingly makes its solid mahogany glow.
What, then, is this monthās find from the vault? Itās a bona fide 1960 Les Paul Custom in a factory-sprayed, see-though cherry finish. Thereās a story here, and it goes: This all-original Custom is the same as others of its era except for that transparent color. It has the same Grover tuners and extra low āfretless wonderā rails of its genus. It sports the same 3-humbucker setup. (The move away from two pickups began in ā57 and continued through the SG-body Customs of the early ā60s.) The 3-way switch selects between the neck pickup, middle plus bridge, and the bridge pickup alone, and thereās Gibsonās typical two volume and two tone knobs.
In 1960, a regular Black Beauty would have retailed for $395 in the U.S., and this custom-finish import likely had an extra charge.
But what about that clear cherry red finish that lets the mahogany wood grain talk to the eyes? It almost looks like something the Sweden-based guitar company Hagstrom mightāve offered back then. And thatās the tip-off. According to GuitarPoint, the vintage German guitar store that has listed this instrument for sale on Reverb, this is one of six Les Paul Customs specially ordered by Hagstrom for import between ā59 and ā60. Cool, right?
The back of this guitarās neck shows its age in nicks and scuff, but according to its seller, it plays like a pup.
On this 6-string, thereās a āMade in the USAā imprint above the serial number. All official export models had this back then, for customs purposes. The finish shows the all-mahogany 1-piece body construction. There are some small, repaired cracks on the right wing of the headstock between the 100-percent-stable machine heads. This axe shows some wear, especially on the back of the neck, but in general, itās nice and clean and stock. The pots have untouched solder joints and read 134.59.47, meaning theyāre from the 47th week of 1959. The original PAFs had never had the covers off and measure 7.94k (neck), 8.29k (middle), and 8.34k (bridge). The weight of nearly 10 pounds is typical for a Custom, and this one even comes with its original black Gibson case.
In 1960, a regular Black Beauty would have retailed for $395 in the U.S., and this custom-finish import likely had an extra charge. For reference, a common factory upgrade like a gold-plated Bigsby would have cost another $75.
For all the elite trappings McCarty bestowed on the Custom, history has offered a funny twist. Wealthy players and collectors have decided that the Standard Bursts of 1958 to 1960āthose with simply two PAFs, a flamed-maple top, and a sunburst finishāare the pinnacle of Les Paul design and collectability. Because of this, vintage Customs from this period do not command the same stratospheric prices. While an excellent-condition, 3-pickup Black Beauty could hit $80,000, Bursts start at around $160,000 and go upāway upāfrom there. However, this rarity in its original, spectacular finish is listed at roughly $133,500.
The small cracks between the OEM Grover tuners have been so expertly repaired as to be invisible.
Sources include āFormer Gibson Chief Ted McCarty on Tonewoods and the Problems of āTop-Heavyā Managementā by Tony Bacon, published on Reverb News; American Guitars: An Illustrated History by Tom Wheeler; The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock ānā Roll by Ian S. Port; Gruhnās Guide to Vintage Guitars: An Identification Guide for American Fretted Instruments by George Gruhn and Walter Carter; and Reverb sales data.
- Gibson Les Paul Standard Electric Guitar Review - Premier Guitar āŗ
- Gibson Releases 1961 Les Paul Tribute - Premier Guitar āŗ
- Vintage Vault: 1960 Gibson Les Paul Standard - Premier Guitar āŗ
- 1958 Gibson Les Paul Special Guitar - Premier Guitar āŗ
- The History Behind a Great Depression-Era, Low-Budget Gibson - Premier Guitar āŗ
- Meeting Les Paul and Leo Fender - Premier Guitar āŗ
Though Lou Reed seemed to only use a handful of chords, his shrewd right-hand strumming created limitless rhythmic variations.
Beginner to Intermediate
Beginner to Intermediate
- Focus on syncopation.
- Add muted strums to enhance your rhythm playing.
- Learn how to modify complex rhythmic patterns into smaller, more comprehensible figures.
Though usually more lauded for his lyrics than his guitar playing, Lou Reed had a distinctive style of strumming that can make replication a challenge and seemingly impossible for beginners to comprehend. With a combination of syncopations and muted strums, Reedās rhythm guitarāfrom his time with the Velvet Underground to his solo careerāhas a groove and feel that all guitar players can learn from.
Weāll start with a relatively simple strummed hook that shows Reedās roots. Ex. 1 is a variation on āThere She Goes Againā from The Velvet Underground and Nico, which was recorded in 1966 and released in 1967. This strum was clearly inspired by Marvin Gayeās āHitch Hike,ā as it duplicates Gayeās intro almost exactly, albeit in a different key. (It is worth mentioning that āHitch Hikeā also inspired the Beatles āYou Canāt Do That.ā)
Ex. 1
Ex. 2 is the samething but performed with cowboy chords instead of barres.
Ex. 2
With Ex. 3, a la āSister Rayā from 1967ās White Light/White Heat, we get into Reedās more syncopated strums. Note that after the first beat, the emphasis of each strum is on an upbeat, including the changes from G to F, then from F to C, followed at the end by a typical Lou Reed-ism of strumming while in mid-change (though in all fairness, many guitarists do this). Thus, the last upbeat notes, which imply a G chord, are in fact a byproduct created by the switch, not a specific chord.
Ex. 3
Ex. 4 is the same strum but capoed at the 5th fret, using cowboy chords instead of barres.
Ex. 4
Our final Velvet reference, Ex. 5, comes from āSweet Janeā (Loaded, 1970), which is a song I loathe teaching to students as it is deceptively trickyāit was the inspiration for this lessonāand can make one feel demoralized. True, the song has only four chords, but the syncopated switching and muted strums can cause problems for many players, and not just beginners. Take your time to get the nuances of the switches and mutes.
Ex. 5
Better yet, start with Ex. 6, which is a simplified version of Ex. 5, using cowboy chords instead of barre chords, as well as a more straightforward strum. True, it does not conform completely to the original, but it is a worthwhile starting point. Once this is mastered, try playing Ex. 5 with the open-position chords before moving onto the barres.
Ex. 6
Solo Years
Ex. 7 is a take on āWalk on the Wild Sideā from 1972ās Transformer, arguably the most famous Lou Reed song. Here weāve graduated from eighth-notes to 16th-notes in the right hand. Once again, the muted strums play a vital role.
Ex. 7
Like the previous two examples, you might want to start with the simpler Ex.Ā 8, although the only change is that the mutes have been omitted. This example demonstrates how essential the mutes are, as the feel changes completely when you leave them out.
Ex. 8
Ex. 9 also comes from Transformer and is a variation onāVicious.ā Additional syncopations and muted strums, both different from āā¦Wild Side,ā complicate what should be carefree.
Ex. 9
Ex. 10 is, again, a simplified alternative.
Ex. 10
Examples 11 and 12 demonstrate two options for fretting chords, using Reedās āLeave Me Aloneā from Street Hassle (1978) as a vehicle.
Ex. 11
Ex. 12
Our last example, Ex. 13, is based on Reedās late-ā80s ācomebackā hit, āDirty Boulevardā from New York. Here we not only get syncopations, but a rhythmic variation in the chorusāsame chords, different rhythms. Pay attention to that quick, almost-ghosted B note on the āandā of 1 in measure two. It almost seems like a mistake but it adds so much.
Ex. 13
The Lou Reed Legacy
When most fans think of Lou Reed, the first thing that comes to mind is his pioneering subversive, transgressive, and poetic lyrics. But, clearly, that is not all there is to his work. In truth, Lou Reed is an incomparable musician whose guitar playing should not be underestimated. So, take this lesson as a starting point and search out more of his idiosyncratic strums. You will be well rewarded.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoyās trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voiceāperfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
⢠.014 ā .018p ā .026w ā .038 ā .050 ā .062
⢠Wound 3rd string
āIf you didnāt know these were 14-62 gauges, youād swear they were just 11s tuned down,ā said Ariel Posen. āThey feel like home and preserve the sound of the guitar, even in lower tunings. Thatās the biggest thingāit still sounds like guitar.ā
āWeāve spent ten years experimenting and testing together to find the right combination,ā said Scott Marquart, Stringjoy Founder & President. āThis release is more than just a new productāitās the culmination of a shared journey between friends and musicians. Arielās set is uniquely him, and I think players will love how it feels and responds.ā
Stringjoyās Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Nashville luthier and guitar tech Dave Johnson shows us the baker's dozen of tools he thinks any guitar picker requires to be a guitar fixer.
3. Guitar Tech Screwdriver Set - 3000
4. Nut File Set (for medium guitar strings) - 0882
8. String Spacing Ruler - 0673
9. Nut and Saddle Files - 4556
The Ultimate Guitarist's Tool Chest Giveaway
Whether you're setting up your first guitar or fine-tuning a custom build, these are the 13 tools every guitarist needs. Now you can win them all. We've partnered with our friends at StewMac to give away a complete pro-level toolkit valued at over $750.
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Paul Reed Smith cradles one of his companyās Charcoal Phoenix limited-edition guitars in front of a PRS Sonzera amp.
The storied guitar builder reflects on his dozen months sharing his experience, knowledge, and perspective with PGās readers.
Over the past year, Iāve written a series of articles in Premier Guitar going over some of my, and our industryās, views of guitar making. You can find all of them all online (and for those reading this online, the articles are collected here). What I am going to attempt to do for this final piece is boil down each of these articles to a āsort ofā conclusion. I have enjoyed the process of writing and editing each one. For the most part, itās been a lot of fun. So:
Tonewood Doesnāt Matter. Wood Does (August 2024)
We donāt use the word tonewood in conversation at PRS. It doesnāt capture a lot of my experience of which combinations of wood make good instruments. First and foremost, we are looking for qualities of wood over species, and we make sure we dry and treat each one appropriately.
What Makes a Guitar Worth the Price? (September 2024)
Very often, the price of a guitar does reflect how good an instrument isāand very often the price of the guitar has nothing to do with how good an instrument is.
What You Can and Canāt See When Buying a Guitar (October 2024)
This oneās a pet peeve. When making a purchase, you can clearly see the color of a guitar and how beautiful it is, but you have no idea if the neck is going to warp over time because of many factors, including wood drying and truss rod installment design. Trust your experience.
Does Where a Guitar Is Made Really Matter? (November 2024)
There are really good, really smart, really talented people all over the world. While I wonāt deny itās helped our career here at PRS being in the United States, I do not believe it is a truly defining factor of our quality. A good example would be the PRS SE Series.
The Complicated Beauty of Electric Guitar Pickups (December 2024)
Weāve taken so many good stabs at humbucking design, and Iām getting incredibly good feedback on our new McCarty IIIs. But making pickups is a complicated art. There are a lot of ingredients in the recipe.
āI hope these articles have had some positive impact on you as a group.ā
In Guitar Making, Itās the Details that Matter (January 2025)
Well, that title says it. Whatās interesting for me is that all guitar makers believe that different types of details matter more than others. At PRS, we have our own beliefs.
When Building GuitarsāOr Pursuing AnythingāGo Down All the Rabbit Holes (February 2025)
This oneās about learning. Itās a process I really enjoy. Whether your passion is guitar making, guitar playing, or something else entirely, there is always more to keep discovering.
Paul Reed Smith on Buying Gear (March 2025)
Very often at a clinic, the people who donāt play guitar have a less calcified view of the sound of the instruments being demonstrated than those players who have already developed strong ideas. On the other hand, one time a very experienced player was at one of my clinics and heard something heād been looking for for a long time and did not expect it out of the guitar he got it from. Trust your experienceānot your predetermined views.
Learning from the Mistakes of Guitar Buildingās Past (April 2025)
I think my beginnings as a repairman gave me a lot of insight on this one. Even still, just the process of defining a past guitar-making mistake is its own art.
Paul Reed Smith on Where Amp Historyāand ToneāBegins (May 2025)
This one I love. Itās a greatly exaggerated version of mods you could do to a TS808 Tube Screamer, which has a history on the web. Amplifiers are āmodulated power suppliesā and can have so much impact on your tone.
The Lifelong Rhythm of Learning (June 2025)
In some periods of time, thereās a lot to be learned, and in some periods of time, you can barely hold what you had before. Itās different for everyone, and for me, itās been up and down. No matter where you are in the process, thereās always good work to do.
I hope these articles have had some positive impact on you as a group. I know some things resonate with some people and not others, and the opposite as well. I havenāt gotten a lot of feedback from these articles except that thereās not an overwhelming chorus saying āwhat an idiot,ā which I assume means thereās been some meat on the bone of some of the views shared. Itās been a joy. Thanks for listening.