The Gibson Firebird V appeared in 1963 as part of a wave of new models inspired by Ray Dietrich, a prominent Detroit auto designer.
Gibson has been quietly building Les Paul Standard Plus Top since about 2002, with the ‘Plus’ referring to the quality and amount of figure on the carved Maple top. Many of these models are also weight relieved, with slimmer ‘1960s’ profile necks and are very good instruments, not just beautiful pieces of functional art.Here we’re treated to a pristine Gibson Les Paul Standard Plus Top with Heritage Cherry sunburst finish. This guitar dates to June 27th, 2007 at the Nashville plant – before the devastating floods.
This instrument has sold
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The Gibson Byrdland thinline archtop electric appeared in 1955 and represents a functional adaptation to traditional archtop electrics. Two top Nashville session players, Billy Byrd and Hank Garland were approached by the Gibson president, Ted McCarty for ideas on new products. As busy players, Byrd and Garland wanted a shorter scale length of 23.5 inches to allow complex, extended chord shapes.
This Gibson J-50 Koa dates to July 12th, 2007 and was built at the Gibson Acoustic plant in scenic Bozeman, Montana, during the period when Ren Ferguson oversaw the workshops. This model appears to have been produced as a limited edition, until the Koa supply on hand ran out. Several other models were also built with Koa around this time.
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The Gibson ‘The Paul Standard’ was one of two distinct models developed from the FireBrand series – ‘The Paul’ and ‘The SG’. The Paul Standard featured a solid Walnut body paired with a Mahogany neck and Ebony fingerboard, while the Deluxe model had a Mahogany body. ‘The Paul’ was built from 1978-1982, while the all-Walnut ‘The SG’ was only available during 1979.
Here we’re looking at a Gibson A Junior model mandolin in Sheraton brown – basically the only colour available for this model. It’s built like other A-Style mandolins, the key differences being wood quality and low decoration level. The arched, carved top features an oval soundhole and is Adirondack Spruce, while the arched, carved back is Maple, as are the sides and neck.
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I came to Twelfth Fret with an all original 1967 Gretsch Chet Atkins Tennessean which I had purchased online. The guitar was barely playable, would not tune and was just a very expensive disappointment. After a consultation with Scott, he came up with a plan to see if this guitar could be brought back to life. After great communication, Scott put his skillful hand to work and gave me back one of the greatest guitars I have ever played!
I went from totally disappointed with this guitar, to it being one of my favorites. I don’t know how Scott did it, but unbelievable. Great communication throughout the process, incredibly skillful work, and most of all just a real desire on Scott’s behalf to bring this thing back to life as best he could. I went from having totally given up, to very boastful to own this guitar. Completely blown away.
Absolutely no hesitation bringing any future projections to Scott and the rest of the staff. Thank you so much!
