Gibson Les Paul Cracked Finish

1958 Flying Vee Broken Neck Joint Repair

I've owned it from new.Bought it from the local Gibson main dealer with all tags and case etc. Not a fake.It was returned to UK agents Rose Morris to have the switch replaced under warranty after a few months. It has developed some paint and binding cracks over the years as its ageing.

When this job is done it will be absolutely impossible to tell it was ever repaired.

This is a before picture

WHY DO VINTAGE GUITAR DEALERS HATE ME ???

Because I break the rules and tell people what the real dangers of buying a vintage guitar is.

I am taking food from their mouth's therefore I am the bad guy.

Vintage guitar magazine could and should do a story like this but it would hurt every one of their advertisers.

READ THIS WHOLE ARTICLE ESPECIALLY THE END

Close up & personal. (written 2002)
Neck joint is cracked on both sides of the neck.
These are not finish cracks. They are cracks right in the wood. Very common on these guitars. Imagine buying one and then having this happen all by itself.

As you can see the Korina Wood is split right at the neck joint. The finish is cracked also but that would not be a sufficient reason to restore this guitar.

This is an extremely pricey instrument when there are no major problems like a broken neck joint. This type of job requires great skill and very few people are qualified to do a repair like this one. I suggest that if you need a repair job like this one done that you send it to me.

If you do send me a repair, try to send it as soon as it breaks. Waiting will cause more problems with expansion and contraction. Also, don't let some idiot hack do a temporary repair until you feel you can send it to me. 99% of the time it will be much harder to repair after some moron has gone in and tried to fix it half ass.

These cracks reduced the value of this guitar by $50,000.00 fifty thousand dollars. these guitars got horrifically overpriced in the late 90's. This spawned numerous counterfeiters in 10 different countries that were making them from scratch. Some of the counterfeits are so good that I cannot tell them from original.

There are people that brag that they can tell an original from a counterfeit. usually these guys are vintage dealers. I DON'T BELIEVE THEY CAN TELL. maybe when the first counterfeits started appearing in the mid 90's you could tell but today it is impossible.

All the possible mistakes that the first counterfeiters made are all fixed now. You can buy dated pots, all the parts are pretty much generic and even if they weren't generic the selling price which got as high as $175,000.00.
I personally know 15 people that are fully capable of producing an
exact replica of any Vintage Les Paul, Flying Vee or Explorer. In the case of a solid body electric guitar it's almost too easy. Hollow body models like Byrdlands, 335's etc are harder but still very possible to do.

SO MAKE DAMN SURE YOU KNOW THE FULL LINEAGE OF ANY VINTAGE INSTRUMENT YOU BUY. UNLESS OF COURSE YOU BUY IT FOR $250.00 AT A YARD SALE !!! That is the only sure fire way to know it's real.

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This 1958 Les Paul Standard has a shaved neck, an altered headstock, and an ebony fretboard with Les Paul Custom-style inlays, plus replacement pickups and other mods—making it worth several hundred thousand dollars less than mint stock models from ’58 to ’60.

It seems safe to assume that anyone reading this column likely knows the basics of late-’50s Gibson Les Paul “Bursts.” Sunburst-finished Les Pauls made between 1958 and late 1960 rank as some of the most coveted of all vintage guitars, and the market for these instruments is mostly made up of well-heeled aficionados who evaluate circulating specimens in terms of originality, pedigree, and caliber of flame top. The market goes up and down in different years, but generally top-tier Bursts with original parts and high-grade maple tops command prices in the $300,000 range. Adobe cs6 design standard serial key.

The tweaks Byrd made to this guitar are extensive.

This 1958 Les Paul is not in this vaunted collectors’ category. This guitar is from that second “player grade” tier of Les Pauls that have been altered, converted, and otherwise knocked off that all-original mantle—usually by a player who was just trying to set his or her guitar up to preferred specs. The player in this instance was the late Barry “Byrd” Burton, who is best known for his work as part of the Amazing Rhythm Aces, but was a sideman and session guitarist for many other acts during his career. Byrd used this Les Paul throughout. You can see it on YouTube in a 1977 episode of Austin City Limitsfeaturing the Aces.

The tweaks Byrd made to this guitar are extensive: The neck was shaved down, the headstock altered, and an ebony fretboard with Les Paul Custom-style inlays was installed. The pickups and finish are not original, and there are all kinds of holes, nicks, scratches, and surface cracks. The major work was done by Tom Keckler in Memphis—the town where Byrd played sessions at Sun Studio.


Although it’s not visually detectable, these aren’t the original PAFs that came with this guitar. However, Barry Burton documented all of the changes he made to his main instrument, in great detail, for its next owner.

In its Reverb.com listing for this instrument, online dealer Olivia’s Vintage notes that the 6-string comes with extensive “documentation indicating when changes were made to the guitar, along with original 8x10 photo prints, and copies of Byrd’s personal journal entries where he logged the process to the day.” Virtualbox windows iso images.


The late Barry “Byrd” Burton digs into his modded Les Paul onstage. He used the instrument that’s spotlighted this month throughout his career, which included turns with Dolly Parton, Dan Fogelberg, and Brooks & Dunn.

Clearly, Byrd put a lot of thought and consideration into the changes he made and was on a quest to make his Gibson play, sound, and look its best—at least to his taste. In the ’70s, he wasn’t thinking of it as a vintage collectible, but just as his instrument, and the alterations were done for that end alone.


This inside look indicates—via different types of wire and soldering that appears to be from varying eras—that work was done around the pots and capacitors on Burton’s guitar, too.

The guitar is currently listed for sale at $85,000, which, while certainly a lot of money, is significantly less than most ’58 Bursts and is, of course, reflective of the lack of PAF pickups, the altered neck and headstock, and all the other modifications and wear. If you do have in your heart the desire to own a vintage Les Paul, something like the Byrd Burst or its “player grade” relatives may carry a lot of asterisks, but ultimately, you’re buying a piece of history. In this case, it’s a unique one.

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