A 1979 Gibson Les Paul Custom gets caught in the collectability zeitgeist.
In the vast galaxy of used and vintage Gibson Les Paul models, no star is rising quite like that of the Les Paul Custom. The eternally slick variant—which debuted in its original Black Beauty form in 1954—has been in a certain vogue over the past several years, and prices on used and vintage examples have gone up. For context, average Reverb sale prices on used or vintage Gibson Les Paul Customs increased about 10 percent in 2020 compared to 2019 and have risen nearly 30 percent since 2017. This pattern plays out with Epiphones as well, where Les Paul Custom models have gone up by about 24 percent over the past four years. Comparatively, prices on all used and vintage Gibson Les Paul Standards remained more or less flat over this same time span.
Within this general rising tide of Les Paul Custom popularity and value, today's focal model, the silverburst Les Paul Custom, has seen an even more pronounced jump. These guitars were produced by Gibson starting in 1978 in very limited numbers and underwent a few spec changes before being discontinued in the mid-'80s. Sale prices on this specific group of guitars surged 28 percent in 2020 over 2019, with a 52 percent increase in prices since 2017. Just a few years ago, original silverburst Customs were selling comfortably in the $3,000 to $5,000 range. Today, we're seeing the best examples go for more than double that.
The basic configuration of the single-cutaway Les Paul has remained no nonsense for more than 60 years, with two pickups, four dials, a 3-way toggle, and a Tune-o-matic bridge at its core.
While there are always a variety of drivers behind such a jump in the pricing of a vintage collectible guitar, an artist or stylistic association is certainly part of the equation. Customs claim a certain reputation as metal guitars—think Metallica, Mastodon, and Zakk Wylde—and while plenty of classic-rock titans have employed them over the years, it could be that there are more metal and hard-rock fans getting into the vintage market than in previous periods, driving up prices. For this group, a dapper Les Paul Custom makes a lot more sense as a guitar splurge than something like a sunburst or goldtop Standard.
With no belt rash or other notable dings or scrapes on the back of its mahogany body, this guitar was handled with care. Note the well-defined back binding and lack of chipping along the edges, too.
This column's featured guitar is an original 1979 in very good vintage condition, listed on Reverb by Nationwide Guitars of Cumberland, Maryland, at $8,999 as we go to press. It sports the specs typical of its year and model: a 3-piece maple top with a mahogany body, a medium C-shape maple neck, an ebony fretboard with white binding, a bone nut, mother-of-peal block inlays, a Tune-o-matic bridge, a pair of humbuckers, a 3-way pickup selector, and a black version of the usual Les Paul dual volume and tone controls. Note that the finish shows some greening, which is typical of vintage silverbursts.
True to its roots, this Custom sports a larger headstock, which identifies it as a product of the era when Gibson was owned by the Norlin Corporation.
In the case of this month's silverburst, we can confidently point to the 2020 launch of a Custom Shop reissue of Adam Jones of Tool's trusty '79 as the culprit. This sort of high-profile reissue often has the effect of spurring collector interest in its vintage counterpart, and this can be even more of a factor when the new reissues are sold at prices that are similar to or higher than the originals, which is the case with this model. The Adam Jones 1979 Les Paul Custom VOS was also teased for a long while before going into production, creating more sustained silverburst hype, and this publicity was only amplified by news of a batch of these guitars being stolen this past November. While our guitar has some of the aforementioned finish greening in its center silver section, it's retained its original silverburst glow better than many of its brethren, which is appealing to collectors and players alike.
Design economy doesn’t stand in the way of delicious, wide-ranging tones on this straight-ahead rock machine.
RatingsPros:A sweet-to-savage range of tones from a relatively noise-free P-90. Comfortable. Cons: Some minor intonation issues. Street: $1,599 Gibson Lukas Nelson '56 Les Paul Junior gibson.com | Tones: Playability: Build/Design: Value: |
In a guitar universe awash in sound-creation options, it's easy to forget the joy of simplicity. So if you awoke this morning with a digital hangover from a night of auditioning too many virtual mics and impulse response models, the Gibson Lukas Nelson '56 Les Paul Junior might be the greasy cheeseburger fix you crave.
Wood, Wire, and a Wallop of Old School
Electric guitars don't get much more elemental than the Les Paul Junior. Not coincidentally, perhaps, its ranks of admirers and adopters tend to be straight-ahead rockers and punky troublemakers that dig the absolute lack of fuss and frills. Lukas Nelson's signature Junior takes the back-to-basics concept to the extreme. It's based on Nelson's 1956 model, which is more-or-less identical to the very first Les Paul Junior that debuted two years earlier. In these early years of the Les Paul Junior's production, Gibson hadn't yet bothered to add a neck pickup, double cutaway, or TV yellow or cherry color options. This is electric guitar making at its most straightforward, and the musical outcomes can be thrilling.
Just as on vintage specimens of the Les Paul Junior, Gibson did not make “student guitar" status an excuse to skimp on quality. It's very well put together, though, admittedly, the spartan appointments leave little room to mess things up. The compact body feels downright small but incredibly comfortable. And while the finish reads more as modern satin than vintage, the patina is still lovely, suggests a life well lived, and works well with details like the aged Kluson-style, three-on-a-side tuners. The similarly aged compensated wraparound vintage-style bridge is a nice update of the impossible-to-intonate original. I still noticed minor intonation irregularities—particularly on the third string—but that doesn't really keep chords from ringing true once you're in tune.
Wild Sounds on the Range
The alnico 3 P-90 is notably quiet at idle—no small thing given how many P-90s buzz like a busted liquor store fridge. And even if you're familiar with the typical P-90 profile, the relative quiet can leave you unprepared for the way sounds seems to explode from the guitar. Typical of any P-90, the pickup in the Lukas Nelson has a toothy attack, substantial output from the first and second strings, and a strong midrange presence. But it's not all ice pick tones. There's a pretty, almost dusty, roundness in the harmonic make-up—even with tone and volume wide open—that Fenderphiles and Telecaster players in particular will know and recognize. Build those tones into a chord composite, and the whole becomes a throaty growl that sheds much light on why punk and rock players adore this model.
At low-gain amp settings—say 3-to-4 on a low- to medium-powered Fender combo—the Lukas Nelson growls resplendently. In fact, there's something almost hi-fi about the detail that the P-90 communicates in these settings. Clarity is not typically the first quality you associate with the mythically rough-and-tumble P-90, but it's an audible facet of this pickup's performance. There's a lot of detail to find in these tones, and the responsive pots with their relatively gentle tapers mean you can explore that detail in surprisingly clean and strong volume-attenuated settings or mellower tone-attenuated settings. You might also be more compelled to use these controls in expressive ways, given their thoughtful placement: just aft of the bridge, but close enough for easy and gentle simultaneous volume and tone control swells.
Match the wide-open Lukas Nelson to an amp deeper into its natural saturation state, and the Gibson takes on the personality of a well-read and worldly roughneck. There's plenty of room to clean up the tone and loads of overtone detail. But it's also the sound of rowdy rock 'n' roll incarnate.
The Verdict
My time with the Lukas Nelson '56 Les Paul Junior is as much fun as I've had with an electric guitar in a long time. It's incredibly light and comfortable to hold and handle over extended sessions, it feels smooth and fast under the fingers, and the lovely alnico 3 P-90 is both quiet and full of range—from mellow and clean volume- and tone-attenuated sounds to full-throttle garage punk barbarianism. And at every setting, the guitar reveals a capacity for complex tone pictures that belie its proletarian simplicity.
Watch our First Look demo with John Bohlinger:
Why? Yeah, they're smaller, but they can also offer brighter, clearer, more focused tones than their full-sized cousins.
Whether you’re rehabbing a Les Paul Deluxe or an Epiphone Sheraton, or simply working on a different model or project that calls for mini humbuckers, we’ve rounded up 10 contemporary options to wire up, drop in, and rock out.
DIMARZIO
PG-13Originally developed for Paul Gilbert to deliver the sonic versatility he needs, this pickup was designed to combine the noiseless operation of a ’bucker with the focus and clarity of a single-coil.
$99 street
dimarzio.com
LACE
Drop & Gain Mini HumbuckerIntended for drop-D tunings and high-gain rock, these humbuckers have two discreet coil functions: one to drive output and the other for punch, crunch, sustain, and fast articulation.
$115 street
lacemusic.com
DRAGONFIRE
Mini BuckerThese vintage-wound pickups use alnico-5 magnets to achieve rounded and dynamic rhythm and lead performance for everything from blues to classic rock.
$45 street
dragonfireguitars.com
LOLLAR
Mini HumbuckerCompared with a vintage mini, these pickups are reported to be fatter and hotter without extreme microphonics, and, next to a full-size humbucker, brighter and tighter.
$175 street
lollarpickups.com
RIO GRANDE
Baby BBQ DawgbuckerFeaturing oversized polepieces and available in a number of different finishes, these double-wax-potted pickups were dreamed up to offer more power and presence than their vintage predecessors.
$170 street
riograndepickups.com
SEYMOUR DUNCAN
Seymourized Mini HumbuckerThese handmade neck minis were designed to provide more midrange and clarity for clean tones that are clear and snappy, and distorted tones with a pleasant mid-based growl.
$109 street
seymourduncan.com
CURTIS NOVAK
Mini-HumDesigned to deliver distinctive, harmonically rich tone with no shrillness, these old-school humbuckers are handwound to vintage specs, but can be custom wound upon request.
$160 street
curtisnovak.com
EMG
Mini Hum M-50For those in the active camp, this alnico-5 mini was designed to provide plenty of inductance and a beefy sound—great for driving a Marshall, but also good for playing slide through a Deluxe.
$99 street
emgpickups.com
KLEIN
Mini HumbuckerWound to vintage specs, these mini humbuckers are reported to be brighter than their full-size counterparts, with more depth and presence, and offer plenty of bite and grind when dug into.
$150 street
kleinpickups.com
GIBSON
Mini HumbuckerThis vintage replica from the company that introduced the mini humbucker in the ’60s uses alnico-2 magnets for its bright and focused output, but still retains Gibson’s well-known humbucker performance.
$155 street
gibson.com