This Canadian player took over a luthier friend’s restoration project and turned it into a reliable gigging machine.
Name: Robert Morency
Location: Montreal, Canada
Guitar:Gibson Melody Maker
The story begins with my good buddy Pavlo Haikalis, a guitar builder at PHG Guitars here in Montreal, acquiring a vintage Gibson Melody Maker in a trade a few years ago. It had no serial number, but its single cutaway and narrow pickup indicated it was either from 1960 or 1961. The guitar was in poor shape and needed more than a little TLC. It had a bad refinish and lost quite a bit of its thickness due to prior sanding.
In his spare time, Pavlo proceeded to strip it and refinished it in a nice reddish brown, reminiscent of those double-cut Les Paul Juniors of the late '50s. He even managed to save the original Gibson headstock logo, which was covered in black paint, by lightly sanding it down to the original paint and then buffing it. He did an awesome job, but then it sat in his shop with no parts or frets for some time, as he was busy making his own guitars.
One day I asked him what he planned to do with the guitar and offered to finish it, as I'm a luthier myself and have been restoring vintage instruments for years (decades, actually). I thought it would be a cool guitar to use on gigs with my trio, Unkle Groove. Lucky for me, he accepted and I got the guitar with a bag of parts a few days later.
I began by re-fretting it with jumbo frets and working on the original nylon nut, which had seen better days. I found a newer wraparound bridge, but since the body had lost about a 1/4" in thickness, I had to cut the inserts, as they were now too long to fit flush. With a proper setup, the action was low, with no buzz, and the guitar played and sounded great acoustically. Then it was time to work on the electronics. I rewired everything with new CTS pots and an old Switchcraft jack I had lying around. But the pickup was quite microphonic, so I took it out and dipped it in my “special blend" of wax, et voilà! The pickup sounded great and pretty full for a single-coil, and no feedback … unless I wanted it to.
The neck originally had the thinner, early-'60s profile, but the extra sanding had made it quite thin. Surprisingly, it can still handle my heavier string gauge (.012–.052) without compromising the action or playability. The tuners are the usual open-gear variety found on cheaper instruments, but they stay in tune great and never give me any problem live.
I have to say, it was a fun project, and the Melody Maker has become my main gigging guitar for the past two and a half years. It's a light, resonant, solid guitar that's extremely versatile for a tiny, one-pickup plank. With Unkle Groove, we play everything from Hendrix to Pink Floyd and ZZ Top, and it delivers on all of it. I would encourage readers to find their own “basket case" and, who knows, with a little bit of work, the end result might surprise you.
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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