The story of 1960 Gibson Les Paul 0 8145—a ’burst with a nameplate and, now, a reputation.
These days it’s difficult to imagine any vintage Gibson Les Paul being a tough sell, but there was a time when 1960 ’bursts were considered less desirable than the ’58s and ’59s of legend—even though Clapton played a ’60 cherry sunburst in his Bluesbreakers days. Such was the case in the mid 1990s, when the family of a local musician who was the original owner of one of these guitars walked into Rumble Seat Music’s original Ithaca, New York, store with this column’s featured instrument.
Les Paul 0 8145 is a typical 1960 ’burst in most ways. A vibrant cherry color is prominent in the finish—which is a result of a change in dyes Gibson made when owners complained of their new ’58 and ’59 model guitars fading in ultraviolet light—and the neck is thinner than the late-’50s models, similar to what you’d find on the SG-body-style guitars that debuted not long after this 6-string left Kalamazoo.
This close-up of the guitar’s body shows it in excellent condition, and the sound generated by its humbuckers is terrific.
The maple top is hardly the most figured, yet neither is it plain. But one thing certainly jumps out on this guitar: The original owner applied a name plate on the top for all the world to know it belonged to “Johnny B”! Perhaps for this reason, or perhaps because Rumble Seat was never short on amazing guitars on display to compete for attention, the guitar we named Johnny B. hung on the wall for close to eight months.
Eliot Michael, Rumble Seat’s owner, insisted that what Johnny B. lacked in flame was made up for in spades via its monstrous sound. The two original PAF humbuckers are incredible. It’s now common knowledge that many of the best sounding ’bursts do come from the later run in 1960, but it took some convincing for one of my friends and good customers to finally plug Johnny B. in to hear it for himself. Upon doing so, he immediately declared it “the best sounding guitar I’ve ever heard.” And Johnny B. left the shop for a new home.
The back of the guitar also shows TLC—as well as its classic mahogany wood grain.
As tends to happen, the guitar eventually found its way back to Rumble Seat Music, after we moved the store to Nashville, Tennessee. Another friend and customer agreed with that assessment of its sound. His name is Joe Bonamassa. Johnny B. went to live with Joe B., where it took on a new chapter of life on the road and in the studio for several years.
Joe wielded this truly exceptional-sounding guitar in many shows across the U.S. You may have seen it onstage. While some Les Pauls are known for their sweet sound, Johnny B. wants to rock. This is one of the most aggressive, raunchy, and downright rude-sounding Les Paul Standards out there, which seems appropriate for an instrument sharing a name with a Chuck Berry song. It doesn’t get much more rock ’n’ roll than that!
As I mentioned earlier, guitars we sell have a habit of finding their way back to our store, and so it goes with Johnny B.–now returned to our walls after some serious adventures. Typically, good condition 1960 Les Pauls carry tags in six figures, and this one is no exception at $278,000. That’s within the same current range for ’58s and ’59s, since players and collectors have gotten hip to the virtues of 1960 models. And although it was initially overlooked, Johnny B. has earned its place as one of the most recognizable ’bursts around.
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The Atlas Compressor offers up an extensive library of compression options and allows for transformation into a bass specific compression machine.
Straight out of the box, Atlas delivers six different styles of compression, ranging from classic stompbox compressors like the now-discontinued Diamond Optical Compressor to high-end rack units such as the snappy 1176 compressor and the smooth and gentle LA2A optical compressor. Atlas also features advanced dual-band compression, which provides an independent set of controls for both the high and low frequencies. Each compression engine has onboard controls for Threshold, Ratio, Attack, Release, Output, Tone, and Blend, allowing for fine-tuned control over the compact One Series hardware.
- 6 Types of Compression: The Atlas offers many different styles of compression with sounds inspired by studio rack gear and classic effects pedals.
- LA2A Optical Compression: A faithful recreation of an electro luminescent panel combined with a photo resistor and the resulting warm and smooth compression that has been the standard in studios since the 1950s.
- 1176 Feedback FET Compression: Based on the solid state FET compressor known for its full body and super-fast attack.
- LED Optical Compressor: Inspired by pedals that work on a similar concept as the LA2A, but swap the electro luminescent panel for an LED and a quicker, dirtier response.
- Dual Compressors: Use Atlas’ dual compressors in a variety of ways: in Series, Parallel, or Band Split mode, which provides a separate set of controls for both high and low frequencies.
- Studio Level Compression Controls: Access all the essential compression parameters including Feedback, Ratio, Attack, Release, Makeup Gain, Mix, and Tone, either with the pedal’s knobs or the Neuro Editor.
- Special Bass Mode: With the push of a button, quickly convert Atlas to a special Bass Mode with compressor engines specifically optimized for bass.
- Auto Makeup Gain: Dial in sounds quickly. Atlas automatically increases or decreases the Makeup Gain depending on the amount of compression.
Scores of superb, deep compression emulations in a super-easy-to-use format.
More info: https://www.sourceaudio.net.
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