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#Murphy Lab Aged 1959
guitarbomb · 10 months
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Gibson Limited Edition Murphy Lab Aged 1959 Les Paul Standard
Gibson unveils Limited Edition Murphy Lab Aged 1959 Les Paul Standard with rare Brazilian Rosewood. Gibson’s Custom Shop has recently introduced a stunning new series that highlights the expertise of renowned luthier Tom Murphy. Murphy Lab Aged 1959 Les Paul Standard The series features a limited edition Murphy Lab aged 1959 Les Paul Standard Reissue, showcasing an exclusive collection with six…
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bushdog · 5 months
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Gibson Custom Shop 1959 / '59 Les Paul Standard Brazilian Rosewood Tom's Tri-Burst Bigsby Murphy Lab Aged 2024 | Miami-Guitars
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normansrareguitars · 2 years
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@gibsonguitar Murphy Lab 1959 ES-335 Light Aged available at #NormansRareGuitars! 🔥🔥🔥 (at Norman's Rare Guitars) https://www.instagram.com/p/CoK0ojUv_nI/?igshid=NGJjMDIxMWI=
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lanights · 8 months
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The Gibson Custom Shop 1959 Les Paul Standard - Murphy Lab Light Aged - Cherry Tea Burst
Love the straight-grain pattern and that flame-figured two-piece maple top with my preferred upward-pointing orientation!
🍒 🌄🌆
#GibsonCustomShop #1959 #LesPaulStandard #MurphyLab #LightAged #CherryTeaBurst
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ギブソン編第二百八十六回:「ML 1959 Les Paul Ultra Light Aged」
いらっしゃいませ!ギタープラネットの増田です。
ギブソン編第二百八十二回:「Murphy Lab」
こちら遂に、第一弾の入荷がございましたのでご紹介いたします。
こちら、
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Gibson Custom Shop ~Murphy Lab~ 1959 Les Paul Standard Reissue Ultra Light Aged -Factory Burst-
※こちらでご紹介する個体はシリアルナンバー「#9 0897」です。
こちらを詳しく見ていきます。
※因みに商品ページからは接写した動画もご覧いただけます。
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ヘッド。
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ウェザー・チェックの雰囲気、伝わりますか?
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ヘッド裏も、”本物の”ウェザー・チェックが入れられています。
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ネック裏もです。
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こちら指板部分。
「 ロールド・フィンガーボード・バインディング 」が施されており、
「ネックが小さく」感じるような、ヴィンテージのようなフィーリングに仕上がっています。
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ボディ。
マーフィー・プロセスの深いチェリー・サンバースト「ファクトリー・バースト」です。
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ウェザー・チェック、わかりますでしょうか?
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ボディ・トップとバックでは、ウェザー・チェックの入り方というか、その規則性が少し異なります。
これは、そもそもウェザー・チェックというのは塗装面と木部の収縮率の違いも一つの原因なわけですので、
木材(の収縮率)が違えばウェザー・チェックの入り方も異なる、という特性を見事に再現しています。
見事、としか言いようがありません。
youtube
「Murphy Lab」遂に入荷です!! 新着品紹介 2021/3/19【商品紹介@Guitar Planet】
お陰様で既に大好評です。だって、カッコいいですもの…。
名実ともに最高峰の「Murphy Lab」製品を、是非ご検討ください。
増田
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https://www.instagram.com/guitarplanet_fender_gibson/ 「Murphy Lab」遂に入荷です!! 新着品紹介 2021/3/19【商品紹介@Guitar Planet】
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tanoguitarslab · 2 years
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オススメ商品情報!
Gibson Custom Shop
Murphy Lab 1959 Les Paul Reissue - Ultra Heavy Aged - Lemon Burst
オリジナル・バーストを忠実に再現したMurphy Lab Collection。ウルトラヘビー・エイジド仕様の新品同様USEDです!
●販売価格、詳細はデジマートをご覧ください!! https://www.digimart.net/cat01/shop5214/DS07622591/
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jedimouseketeer · 4 years
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Happy Gibsunday! Here's a Murphy Lab heavily aged 1959 Les Paul Standard from The Gibson Custom Shop. 😎 Like butta. 🤘❤ . #gibsunday #gibsonguitar #gibsoncustom #murphylab #theoriginal #lespaul #1959lespaul https://www.instagram.com/p/CKcu8neM0cd/?igshid=twhscbfkqyqg
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racingtoaredlight · 3 years
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What’s Been Lost
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The guitar at the top is a 1968 Gibson Johnny Smith model.  The picture below is a collection of all the parts I assembled my Precision Bass from.  These are two of my all-time favorite models of any instrument, in any period of history, but they represent two sides of a progression that we can’t reverse.
When Leo Fender released the Fender Broadcaster in 1950, it changed the world of instrument manufacturing forever.  If you think that this doesn’t impact the actual music...you need to adjust that view immediately.  The Fender Precision Bass alone almost completely eradicated the upright bass’ presence in popular music.
The Johnny Smith model from 1968 is a stunning example of human craftsmanship on a variety of levels.  My P-Bass is designed after a 1957 Precision Bass...an instrument 11 years older than the Gibson.  However...to this day, after numerous corporate changings of hands...you can still see how Fender is looking forward while Gibson is looking to the past.
This is not an argument about what’s better or worse, rather a discussion about what was lost in this progress forward.
***
I talk about music history a lot because context is important.
Johnny Smith was an old-school jazz guy.  He grew up in the jazz age...an age that didn’t have sophisticated amplification and PA systems and solid-bodied guitars.  The acoustic properties of a guitar were as paramount as the amplified ones.
You teach acoustically.  You practice acoustically.  You play in big bands and trios acoustically.  And these old “archtops” were designed specifically for this purpose.  They were big bodied and thunderous sounding.  A Gibson L-5 or Super 400 was designed to be heard through a big band’s mix acoustically, because amplification wasn’t a given.  And Gibson had been making guitars like this since the late 1800′s.
In contrast, Leo Fender started his company solely with electric guitars in mind.  It’s important to understand this dynamic, because it had long-reaching effects that not only impacted Gibson, but the music world as a whole.  And while a lot of this was for the better, there were casualties along the way.
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It’s hard to think of this as new school and old school, but it’s a HUGE change.
The top image is a modern version of the classic Johnny Smith floating pickup.  You can see that the pickup is reflecting off the top, and that it’s not attached to the guitar itself anywhere.  The pickup is mounted on the pickguard, and no screws were put into the guitar’s top itself, to preserve all the acoustic qualities.
Wes Montgomery was a new school guitarist when he hit the scene, as weird as it is to think of a 60′s jazz guitarist in those terms.  You can see that his guitar has a hole drilled into the top, with the pickup screwed into a mounting bracket.  This helped tremendously in keeping the big, hollow guitar from feeding back...and was much more suited for amplified playing.  Floating pickups from this era were essentially afterthoughts...”hey you need to plug into something, and this doesn’t fuck with the top.”
I’ve played both floating and fixed pickup archtops.  An archtop with a fixed pickup is not a great acoustic experience.  Sure, it amplifies an acoustic sound, but it’s neither loud nor particularly pleasing.  Plugged in is a different story, but there wasn’t much of a window this style of guitar proved to be practical in, even if it was an improvement over a floater.
But this was Gibson, the company, saying “we see the movement music is making, and we need to adjust.”
They might have been kings of the arcthop, jazz era...but Fender essentially said they’re not even going to challenge in this area, instead focus on the future.  To their credit, Gibson made moves in this regard with the solidbodied Les Paul...but there was still tremendous demand for the old school archtops, as the music industry still had a spot for guitarists like this.
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Gibson themselves kind of killed their archtop legacy in 1958, when they released the iconic ES-335.  They had a number of other smaller, thinner bodied archtops, but the 335′s centerblock underneath changed the game.
You could still get an airy jazz sound out of it, but now you also had access to all the overdriven rock sounds that were blossoming during this time.  And the 335 still retained a lot of the hallmarks of Gibson’s craftsmanship you see in their archtops, but at a much more approachable price.
Same with the Les Paul.  If you didn’t want a “jazz guitar” then this is where you went.  And while there are degrees of craftsmanship involved in the 335 and Les Paul, it’s nothing anywhere near the level of expertise you see in Gibson’s archtops.
This is to say nothing of Fender-style guitars, which don’t require any craftsmanship at all.  It’s hard to compare hand-curved sides of beautifully aged flamed maple, ebony overlays, mother-of-pearl inlays, gilded hardware, pristince spruce tops...to instruments you can put together with a screwdriver.
Wood doesn’t matter with a Fender.  It’s almost a subtractive influence on the tone, rather than an essential ingredient.  It’s incredibly unfair to say this, also not true whatsoever...but there’s really nothing special about a Fender.  Even in the lauded pre-CBS era, it wasn’t made by a single person, it was made on a conveyer belt, and it’s just a machine or tool rather than an instrument.
Again, that’s not fair...but in comparison to a vintage Gibson?  It’s 100% accurate.
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If you’ve never played guitar...any instrument really...and you’ve never experienced playing a Fender-style against an expertly crafted archtop, it’s hard to understand this dynamic.  Even talking primo vintage or boutique versions, the experience just isn’t the same.
To the audience, this might not matter, but to musicians it’s HUGE.  The personal experience of actually playing an instrument like these archtops is special.  Not “baby gloves” special, but special in the sense that this instrument is not something you can just go and play at Guitar Center.
Few weeks ago, I talked about vintage electric guitars...and while playing a 1959 Strat, both me and the guy who was selling it agreed we wouldn’t trade it for our modern-Strat variants.  But acoustic instruments are different beasts, and age differently.  A solid Fender or Les Paul isn’t going to change much as its wood ages...but an acoustic guitar absolutely does.
Spruce is a very resinous wood, and as the thin top ages, that resin starts to evaporate, radically changing the acoustic qualities of the guitar.  A certain “crispiness” and “airiness” comes out in a very pleasing way.
Electric guitars create a pleasing sound for a bigger audience.  But acoustic guitars are more personal.  More intimate.  They have a character all to themselves.  As music becomes more electric and less intimate, this is lost.  We could talk about electric acoustic guitars, but that’s a discussion for another day*.
*Spoiler Alert...I think acoustic guitars with pickups sound like utter shit, and it’s a stupid ass thing to do in the first place.  Play a fucking Strat or an old Gretsch or *GASP* an old Gibson archtop.
***
So, to answer the question, what have we lost?
We’ve lost craftsmanship.  That’s not to say the progress made hasn’t been worth it...if I haven’t made this clear yet lets get it settled, there is zero practical advantage in playing an old-school archtop today, and a whole lot of pains in the ass.
But there’s a distinct lack of charm in today’s instruments, even high-end custom shop models and from boutique makers.  Guitars supposedly one of a kind seem completely mass produced.  For example, I found over 400 used examples of Gibson Custom Shop’s flagship Les Paul that ranges from $6,500-$8,500.  Check out their “Murphy Lab” of supposed one-offs and try not to gasp at the prices.
But, to my point, how could you possibly feel there’s anything special or unqiue about any of this, buying one of them new?
All of these modern guitars are significantly easier to make than those old archtops, and there’s a substantial premium built into the price due to the artificial aging.  I’m sorry, but that’s not craftsmanship as I like to think about it.  Again, this has nothing to do with the practicality of the instruments, just emotive content.
Below, I’m going to highlight a bunch of features you find on these beautiful old archtops.  You don’t find this on guitars made by anyone anymore.  Gibson will do an L-5 or something as a special one off, but these guitars are artifacts of a time long gone.
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Wood Quality - Here’s the sad truth...Fender, Gibson and Martin completely eviscerated the old-growth forests that had the highest quality woods in the ‘50′s and ‘60′s.  You just don’t get this type of incredible wood anymore, even when paying a premium.  The spruce top on the Super 400 above is violin quality.
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Inlay - Look at that motherfucking inlay!!!!!!!!!!!!!  If you’re dropping $8k plus on a guitar, would you rather have workmanship like that?  Or like this?
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Flamed Maple Necks w/ a “Stinger” - The stinger is an ebony overlay on the back of the headstock, something aesthetic only that’s like a treat for the person playing it.  You can see in the top two L-5 and Super 400 pictures that the stinger travels down the middle of the neck, while on the bottom Johnny Smith that has a 3-piece neck, it adorns the top and bottom.
The wood the neck is made of likely has little impact on the guitar’s overall sound, but it’s beautiful.
When I started to show promise on guitar, I started classical and jazz lessons with this hardcore motherfucker drill sergeant who had one of the most beautiful guitars I’ve ever seen (made by Brad Nickerson), the flamed maple neck especially.  Every time I was fortunate enough for him to let me play it, the sensation of wrapping my hand around that neck and seeing the beautiful flamed maple is something I’ve been chasing for decades, and still haven’t found.
The idea that it’s a “treat for the player” totally resonates with me.  The audience doesn’t care, nobody else is going to touch this guitar, it’s expensive as hell for no other reason than looks...but it’s a treat for the player that makes the instrument more special.  I do bond with my guitars, and while I love playing all different kinds, ownership is different.
I’ll have my flamed maple neck someday.
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“The Scroll”/Point - This probably makes the most sense as to why Gibson stopped doing this, no matter how cool it looked.  As guitar became more amplified, and more virtuosos emerged utilizing the upper registers of the guitar, this ornate little detail took up precious real estate where you could add more frets.  For old-school jazz guys, only having 20-frets wasn’t a big deal at all.  Different story in the modern era.
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Ornate Hardware - You can see a variety of different, unique tailpieces above.  The top two are L-5 tailpieces...which were pretty consistent throughout, occasionally putting an artist’s name on the middle section and subtly changing up the engraving.  The Super 400 was consistent all the way through, in terms of the design...but would feature unique engravings over the various eras.
Below is the tailpiece you get on a brand new $8,500 guitar today.  More practical?  Absolutely.  But it doesn’t have the same charm as the gilded stuff.
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Cool Little Touches - Yea I know it seems weird complaining about a guitar company in the modern era not engaging in cost-prohibitive things like making guitars seem personalized and unique.  But back in the heyday of these guitars, they were personalized and unique.  Typically made by the same small handful of skilled craftsman...not in huge teams with CNC machines.
Those cool little features...the mother-of-pearl heart inlay on the Wes Montgomery L-5, and the hand engraved “Super 400″ on the butt of the guitar’s neck...it’s hard to say guitars made by people willing to obsess over details like that are replaceable or mass produced.  As much care and art went into making the instruments themselves, as it did from the musicians using it to create.
The 7-ply binding on the bodies and 5-ply binding on the neck and headstock looked absolutely gorgeous.  It serves zero purpose, but just looks really fuckin’ cool.
***
Listen, I get why we don’t see shit like this on guitars anymore...even guitars made by Gibson.  But still, these are artifacts of a niche of history that is already gone.  The progress of the future leaving you behind doesn’t mean that something necessarily bad or unwanted, it might just not fit.
But there’s something sad in things like this being lost to the march of time.  You see little details like these, and you know that an expert human being was responsible for creating this...not some machine or some underpaid laborer.  It takes years to develop the skills necessary to make things like you see in the images above.
And while that doesn’t diminish the quality of the craftsmanship and sound of modern guitars, there’s something missing that you get with guitars in this style.
Whether it’s the macro guitar world moving towards solid bodied guitars that require less craftsmanship...or the macro guitar world moving towards amplified styles of music and away from its acoustic roots...what’s been lost is an appreciation for a guitarist’s personal connection with their instrument.
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collectorscorner · 6 years
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bushdog · 2 years
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GIBSON CUSTOM SHOP 1959 ES-335 BB KING "LIVE AT THE REGAL" ARGENTINE GREY MURPHY LAB AGED (L36) - Willcutt Guitars
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bushdog · 2 years
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Gibson Custom Shop 1959 ES-335 Reissue Murphy Lab Ultralight Aged Ebon - Willcutt Guitars
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lanights · 9 months
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1959 Les Paul Standard Reissue Limited Edition Murphy Lab Aged With Brazilian Rosewood Cherry
The Gibson Custom Shop and Murphy Lab are proud to introduce a new limited run incorporating Tom Murphy’s deep knowledge of vintage guitars, passion for his craft, and inspired creativity to bring his vision of the ultimate 1959 Les Paul™ Standard reissues to life. These extraordinary guitars utilize handpicked materials of the highest quality, including Brazilian rosewood fretboards, super lightweight mahogany bodies, and AAAA-figured maple tops that were cherry-picked and set aside specifically for this release. Their Murphy Lab aging is unique and distinct from other Murphy Lab offerings and completely exclusive to this distinguished limited run, with a heavy treatment and notable touches like custom-aged plated and plastic parts. Each finish option was developed and selected by Tom Murphy as well. A total of six colors, with 50 guitars in each color, will be a part of this very special limited run, and a leather-bound certificate of authenticity and an aged Lifton™ hardshell case are also included with each one of these exceptional instruments.
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lanights · 9 months
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Behold the Gibson Custom 1959 Les Paul Standard Reissue Limited Edition Murphy Lab Aged With Brazilian Rosewood. Materials of the highest quality cherry-picked by Tom Murphy himself, including Brazilian rosewood fretboards, super lightweight mahogany bodies, and AAAA-figured maple tops.
Get all the specs HERE: https://ow.ly/U1BS50QiXjj
#gibson #gibsoncustom #brazillianrosewood #tommurphy
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