Gibson '59 Les Paul Standard Reissue

Well if you've been looking into '59 reissues you know the drill. I'm not an expert but from talking to one of the largest Gibson dealers in the US I got the impression that Gibson varies it's tops (AA, AAA, AAAA, and AAAAA) maple, and I've seen other woods now as well. The key is that according to the top you'll pay more. I just purchased a new 2008 '59 LP Reissue with what looks like AAAA flaming maple top in Lemon Burst. This is not a Vintage Original Spec (VOS) since it has the gloss top and it was about $1000 more than the VOS. This looks, smells, tastes like a brand new Paul. The theory is that it should be no different had I purchased it new in 1959. So what do you get for almost $6000 out the door? Well you get a mahogany solid body, one piece Les Paul, with a rosewood neck (probably Indian Rosewood-certainly NOT Brazilian), vintage style tuners, burstbucker Pro I&II pickups and "vintage" style elecronics (means the capacitors are bumble bee type that were common in the 50's). I know this sounds like blah, blah because you've heard it all before but I'm just reporting what I have right in front of me. Yes the website is accurate. So if you've had a Les Paul then you know what the features are and that's what you get! Lastly the reissue does come with all the "goodies" (COA, strap, care kit w/guitar cable, etc)--but this is true of all Gibson Custom Shop Reissue guitars.

Tonally this guitar is great. It has a very rich and resonant body that produces a very deep and throaty midrange. This is very noticable when you play through the neck/rythym pickup on the clean channel of your amp. However with distortion on the amp (and depending on how much gain you use) the neck pickup gives you a nice break up ala Eric Clapton in the Bluesbreakers to that very saturated "woman sound" in "Sunshine of Your Love". The lead pick is heaven on earth. It's thin on the clean channel but that's my opinion of just about any pickup (especially the single coils) in the lead position without any distortion or gain on the amp. However, if I were to compare the tone of my $6000 Les Paul to my $2800 Anderson Cobra S (same specs as a Paul) the tone is pretty much on par yet the Anderson pickups are a tad bit hotter (more gain) than the burstbuckers for less than 1/2 the price. I should note that the Anderson rythm pickup has a brighter, more open tone than the Paul. (I personally like this more since it's tonally closer to the lead/bridge pickup.)

The finish is NOT the best if seen. It seems pitted almost as if the wood was not sealed before being sprayed on. This may be true of "real" 59's but I've never had a "real" 59 so I can't say. The top is beautiful and the Lemonburst is different and very attractive. The action is exceptional. The strings bend by sheer will alone! I love this. But comparing to my other, MUCH LESS EXPENSIVE, custom hand built Tom Anderson Hollow-T and Cobra S, I'm having trouble rationalizing the additional $3000 for the recreation of 1950's technology because we're employing US labor.

It's 2 days old! What can I say?

Does Gibson have customer support? I haven't used them for the '59 yet but on a new ES-5 Historic Reissue I purchased 5 years they left me a bit cold with the support. But in fairness to Gibson after weeks of letters and phone calls they did the right thing, fixed the guitar (the finish was goofed up!) and installed a Bigsby free of charge.

I started playing guitar when I was in hish school for a few years then dropped when I turned 40 and I've been at it pretty much consistently since then. So doing the math I come up with roughly 11-13 years of playing. The last 9 have been semi-professionally in blues and rock bands in San Diego. I've had numerous Gibson's, SG, '61 SG Paul Custom 3-pickup Reissue, '54 LP Custom Reissue, '57 Goldtop Reissue and a ES-5 (T-Bone Walker type) Reissue. In addition to this slew of Gibsons I'm also an Anderson nut, but you can tell by my previous reviews. I've been the same way with amps and cabinets but the rig right now is a Fuchs 50watt ODS Supreme (to die for head!) running through an Avatar (yes! Avatar) 4x12 with Celestion Heritage 30's and new Marshall 1987x Plexi reissue 1/2 stack with 25W Celestion Greenbacks, a Boogie Rocket 440 with Tone Tubby speakers, a Maven Peal Zeeta 20w (AWESOME amp), and a '73 Blackfaced Super Reverb. Why any of this is important is beyond me but I'm answering the questions. So what are the conclusions?

1. I have more money than brains and maybe talent.
2. I have a boat load of gear (hopefully a good ear to provide a valuable comparison)
3. My Tom Anderson's cost 1/2 as much as sound, in many ways, just as good as the '59 and in some evern better.
4. The '59 RI gets an 8 because it's not $6000 worth of instrument but it does sound and play great but would be a 10 for $2000 less. 5. Maybe this is all rubbish and you should go back to playing your guitar and BE HAPPY!!!

2007 R9 Washed Cherry. Just over 8 lbs.
Your typical R9 with VOS finish and gorgeous flame!

Vintage...need I say more?

The action was great right out of the box.
Guitar is flawless and the finish is incredible.

This guitar will last a lifetime. Personally, I wouldn't take my R9 out of the house. Too much money to replace it.

Gibson customer support gets a 10 as fas as I'm concerned.
They've always answered my questions.

I have a several other Gibson guitars, this is my only reissue.
It's absolutely incredible. If you can justify the cost, it's defininetly one of the best, if not THE best, guitar on the market.

Just make sure to play a few of them, some are better than others.

This is a 2007 Murphy with darkburst.Big neck weighing at 8lb and 5oz.

Put tom holmes in.And tone pros bridge and tuners aged from RS.Run through Matchless Jorgenson. Killer.

Beautiful realistic aged guitar.

Probably only need this one. Cant believe Clapton put this guitar down.

Great service.Period.

Simply fantastic.

Cherry burst, nice flame but not too 'over the top'. brazilian board, all the normal 59 specs, slightly aged metal parts, etc. Very very nice to look at. A bit heavy at over 9 lbs.

Clean: Excellent+. Mild overdrive: Excellent+. Wild gain: Excellent+. All pickup settings: Perfect. Never heard a better sounding guitar. And it begs to be played. I now know what a real "10" means.

Very very nice all around. No complaints.

Been playing too many years. My first real electric was a 74 deluxe LP. Sold it in 78 and swore I'd never go back to a Gibson. It was a nice guitar, but heavy and a cliche amongst guitar models. So what did I do? Fell for the opposite cliche, fenders. Having finally caved in and bought the 59, I can't believe what I've been missing all these years. One perfect LP, and one perfect Telecaster would be the full lineup for me now.

I DO love this LP, but at 9.5 lbs, that's a lot of mass on the shoulder. I'm looking for a lighter weight one, but may end up keeping this one for the tone alone. Score of 9 only because of the sheer mass of this beast. Else perfect.

2005 Faded Cherry Flame top with burstbuckers. '59 medium thickness neck. The Lifton case is poor. Be careful or you will break the p/u selector switchtip if you are not careful when you close the case. Weighs 8lbs. 5 oz. The Kluson tuners on this guitar are working OK, but in general, they are crap. I've replaced them on my old SG and Les Paul and probably will have to on this guitar at some point.

I've played the same '74 Les Paul (a Deluxe special ordered from the factory with big humbuckers) since I bought it new. I've pretty much thought that guitar was the "end all to beat all" for all those years. When I first played the '59 RI it had 10s from the factory. The action was higher than my '74 which I have strung with Ernie Ball Hybrid Slinkys (.009 e-string, heavy bottom) since they started making them. My first impression was that the 59RI had punchy mids and was slightly louder than the '74. I was able to harmonic pull-offs with the '74 but not with the 59RI. The '59 RI had an interesting sound but I couldn't make it sing like my old friend. I have since re-strung the '59 with the Hybrid Slinkys, adjusted the action and the pick-up height and played the thing more and more over the past 6 months. After having had the '74 in the case for a few months, I was thinking that I was really starting to like the RI and decided to do a quick comparison. I was shocked at how much better the '59RI sounded at any amp setting. I've played through the same Twin Reverb a/b'd with a Peavey 2x12 for clean sound since '74 and never felt the need for any thing more when playing hard rock or blues. I've recently started playing through a Cyber-Deluxe (which sounds unbelievably good.This guitar sounds as good(if not signicantly better) as any thing you can find for a blues & rock lead sound with the aforementioned amps.

As I said above the factory set up did not allow for the best performance of the guitar but the action can be perfect after adjusting the set-up . It does have the bleed over of the red dye into the binding that someone complained about in another review. This is actually supposed to have been the case with the orginal 59's and done on the RI for authenticity. The finish is stunning. The construction quality is top-drawer (as would be expected for an instrument of this cost).

This guitar should played, not kept in the closet. Wipe it down after playing, clean & lube the mecahnical parts and polish it when you change change strings and it will outlast you. The machine heads will probably need to be uppgraded. Strap Locks are always a good idea.

Never really needed much support.

I have played the guitar since I was eight(42 years). I was about 16 when I figured out that Gibson Humbuckers and Fender amp with a gain channel would serve me well in just about any application. I bought this guitar because I wanted to see if it was truly superior to my 70's Les Paul and I have to say it is. The neck is thicker but I like it just as much as the 60's neck. It is much lighter than the '74 LP, which is nice. I also own a '71 SG (my first love), a custom built strat (I put it together in '85) and three telecasters(each set up for a specific application). They all have something unique to offer and I really enjoy them all. If I could only have one guitar it would be almost impossible to choose. The strat would be the most versatile, but I am really emotionally attached to the '74 LP; incomparison to those two, the '59 RI is a truly jewel that has grown on me over the past six months.

Made in 2004, amazing maple top with superb rosewood fingerboad of the highest quality.

The best blues/classic rock guitar I ever heard. The reason I bought this guitar was the sound,I heard guitar virtuoso Zlatan Ivancic from Minnesota playing some Hendrix songs. The sound was to die for.

Cannot imagine any better. It matches PRS and Tom Anderson.

I do not know.

Did not deal with them.

2000 made 1959 Les Paul Standard Reissue, Heritage Darkburst (The best color, you ask me). No need to explain all the features, although I will say that I can't stand Kluson tuners....Gibson should put Sperzels on their stuff, but then it wouldn't be a 1959 guitar, eh? LOL! Case candy for mine came with a cable, Vintage Reissue 10-46 strings (I'll stick w/ Elixir), gloss polish, cloth, fretboard conditioner, and a bunch of picks. The case is nice, but I have to put a lock on it, because a kick could easily break the one that's on it now.

Well, it's MAGIC. I played this guitar through a Mesa Dual Rectifier, and a Fender Hot Rod, Diezel VH4, Mesa Mark I. I wanted to hear it through as many different amps as possible. The Classic 57 pickups are my favorite anyway, so the sound is very warm and the highs when playing clean are outstanding. The wood is (of course, for the price) resonant, and picks up on the slightest attack nuances. I play rock;
our originals lean towards the southern/classic rock vein, so this guitar is the best for my sounds. I use it with an MXR Wylde Overdrive Pedal (for boost), EHX Small Chorus, and at times the Line 6 Uber Metal on Pulverize, high gain. But this git is best plugged straight into my Mesa Boogie Lonestar 1X12. That amp brings out the best in bluesy guitars. An excellent guitar.

Beautiful guitar, but I gave this a 10 for looks; we all know Darkburst is the most coveted finish!!!! However, as with comments from other axe-slingers here on this site, I NEVER trust a factory-sent guitar to be properly intonated. I had mine set-up, of course, after purchase. I believe that's the player's responsibility. For the cash, of course it is made fabulous. I only wish it had a metal jack shield instead of plastic.....

Again, player's responsibility. a 4K guitar should be taken care of, should last many gigs, if you do the right thing. Straplocks are mandatory for Gibbys; take the risk and don't put 'em on, see what happens: SNAP! The hardware is solid, but Klusons are crapola. The finish will bleed, but I look forward to it getting a funky well-worn look. Hell, it's a reissue, not the real thing, so it doesn't belong on a wall!

Gibson seems cool in my opinion. I have lived in Japan for almost 13 years, and the company that directly imports Gibsons here is lousy. ONE YEAR WARRANTY. Gibson in the USA is lifetime. Makes me miss my country. American-made is always best, folks. People here in Japan love Gibsons, so they should get the same warranty. waste of money.

Have been playing 17 years. Went though too much gear and $$$ trying to find the guitars I like.Now I'm down to four guitars; three are Gibsons. I am very satisfied with their products, although many people hate on them for whatever reason. I played a total of five of these R9s before settling with this one. I can honestly say that with Les Pauls, you have to play a lot of them until you find the one that suits you. I was in love with a used R9 that was banged up and cost more than this one, which is "new" (2000). But I finally decided that this one would age with me, and there were problems with the tone pots on the used one, as well as the jack output. If it were stolen, I'd be bedridden because I wouldn't be able to get THIS ONE BACK! I agree with the haters that the price is steep, but this is TOP QUALITY, and people know it. I don't agree with people buying cheap guitars just to "stick it to the man": make an investment instead of spending too much money on stuff you have to buy again. ESPs are cool, but they are just the Flavor of the Metal Month. PRS is FANTASTIC, just not my style, same with Ernie Ball. I say any US made guitar will be a great investment, but these are treasures. If you have the dough saved, go for it, but PLAY THE DAMN THING!

Early 2005 production. Custom Shop Historic 1959 reissue. The usual specs. No Brazilian rosewood board, but very fine grain none the less. I would call it a future Iced-Tea burst as it is not as cherry red as many I have seen. Very nice 3-D top, not the tiger stripe, chevron, perfectly bookmatched top that amny people look for-a bit more authentic to what would appear in the BOTB book.
This one has the beautiful grain space from the center line going out to the edges of the body, not sure if this is termed "quarter-sawn" or what, but the rings of growth are evenly spaced all the way out and in a killer pattern. Nice stain on the back also. All the features as far as appearence goes.

I will say out front that I like the 57 Classic buckers, a little more open tone, looser. The burstbuckers are a bit muddy at lower volumes-but I would not switch them out. I did, of course, tweak the factory set up on the poles and height.

The responsiveness of the tone pots is very good, you can really get a good clean sound in the middle position with just the right volume/tone balance of each. I may consider a coil tap for the neck pick up to have some more flexibility as well.

Good, strong output from both postitions. That awe-inspiring sustain you get from Les Pauls. The higher end pauuls that Gibson has been truning out of the custom shop in recent years is as good as ever, I think.

This is a key category for these '59's. You need to shop and play as many different ones as you can. Neck shape will vary quite dramatically. As will fret work and general "palyability". Kind of suprising considering it is a $4000 plus instrument.

Don't get sucked in by one with a killer top and forget about everything else. In fact I would say it is the exception when you get one with the top and one that rates well in the fit and finish department. I found that the cut on the nut was the main area where they did not do as well as they should.

The other thing to look for is the applied finish around where the neck jois the body on top, near the neck binding; and around the nut where the headstock black finish tnds to bubble up and not be real smooth. also the nibs on the fret ends can be sub par. right after I got mine, i took it to my guy who smoothed out the edges of the neck binding-rounded it off a bit for the played-in feel. He also corrected the nut, as it was not cut low enough for proper set up with 10's. Again, shop around to get a 9 or 10 in this category. Mine was a 9.5-with the nut issue.

Bought it to play, not collect. Very solid, not as solid as the 80's type 12 pounders, but no issues here. In 25 years, my son will love playing it.

The Gibson site is great. Whether you are surfing for info or have a question, it will have all you need. A lot of devotees on there to pitch in if customer support does not give you the full answer. They get plenty of oddball requests and questions.

I always wanted a LP. Been playing since 1983. I had a 80's factory second back in the day when you could find such a thing from Gibson. Now I just look for the quinessential examples of classic guitars. I own a 1969 SG Custom, a CS 1960 relic Strat, a pre-CBS era Tele, Guild 12 string JF-30 made in Westerly, RI and some others.

Amp-wise the LP goes through either a DR Z Carmen, Savage amp (Macht 6 or Blitz 50, incredible amps, by the way!) or an older Groove Tubes Soul-O 75 head and 2x12 cab. It sounds great through any of them. I do not know why it took me so long to buy it, but these '59's are great instruments, good investment too.

**Get a better case for it-the blotchy-brown "period correct" case Gibson sends it out with are $%^&!@. Get it because it comes with it, but spend a few bucks to get a good one if you are leaving the house with it**

Flametop Cherry Sunburst 2005 Model. Burstbuckers with Bumblebee caps.
59 neck and historic specs. Straight forward simple elegance

All I can say is if you have ever played a '59, none of them sound less than from heaven...These have tone, cut, richness, a sound so wide you don't need a band and just pure gibson les paul balls!

The only complaint i have it the guitar came with 10's. I put on 9's after beating it up hard with 10's to break it in and the 1st fret of the g string buzzes and now I have to pay for a setup.
As for the rest, they set up the guitars pretty standard.Anyone who buys one of these can afford a set up from a pro anyways.
As for the quality of the guitar - simply awesome. I would not have Paid $4000 for a guitar that wasn't absolutely stunning. Gibson has it down! The custom shop makes the best guitars on the planet. I love fender custom shop too but Gibson has it down!

I can't see a les paul breaking down. The nickel bridge does have sweat abouse where my palm rests over the low e string but that is the salt in my sweat.

I have had another 59 repaired as the trapziod inlay was slightly up on the fretboard. I took it to a repair shop in Los Angeles and it was fixed in one day at no cost to me. What is not to like?

This is my most favorite guitar I have ever owned. I have 5 historic Les Pauls and this one is the most elegant, lightweight 8.0 lbs and just pure tone from heaven. If you have never tried one, go play one.
The 59 is the best of the best. You are paying for the best wood and lightweight. Plus I can not see these going down over the years in price. That is why I own 5 of these babies.
I feel so cool everytime I pick this baby up. When I play live, people always want to look at the guitar up close. Talk about flametop! Gibson Custom Shop rules

Les Paul 1959 reissue Custom Authentic in Iced Tea (Wide tiger wavy flame). Weighs 8.8lbs Big C neck other than that traditional wood appointments. Nitro finish on body and back of neck not buffed to look like new pickups covers, bridge are aged as is headstock and switch.

Not to thrilled about the pots on this guitar which I believe are linear taper (nothing really happens till 3 or 4 and then you get a sudden drop in volume or tone). This guitar has Burstbucker 1 and a Burstbucker 2. One change that is imminent is switching these pots for audio taper pots.

R9 come with a reissue Lifton case which is a nice discrete brown however the cas has only one neck support and no padding inside. It is a nice item to have but it is a really bad case and many complain about it (you have to keep the foam donut and headstock protection to avoid damage). Here is the great thing about this case if you sell the case to get a decent one your guitar will lose value so I'll just have to stock mine and get a better TKL case.

This is a beautiful sounding guitar it is loud and resonant you can really feel the vibrations thru the neck when playing and slightly less through the body. It has a great traditional woody les paul sound somewhere along the lines of what you hear from the Allman brothers, and ZZ top and some Led zep. It also sounds great for Jazz or blues. The variety of sounds you can get from really depends on your amp and effects set up as well as your playing but for blues and classic rock nothing comes close to the sound of this guitar. When you manage to set the sound right it is bordeline divine.

There is nothing that I don't like about this guitar because I know exactly what it can and can't do. It won't sound like a strat or a tele so pointlessing looking at one of these if that is what you expect.

The laquering was beautifully done as were the frets.

The set up of this was really poor ultra high action, bad intonation, pickups set up too high making it impossible to get true clean sound, the neck needed a truss rod adjustment. These issues aren't serious but they are not the kind of stuff you expect from a 4000 USD guitar. In fact I've seen 300 dollar korean guitars with better factory set ups.

After getting it I sent it for a set up and it made a world of difference the guitar plays like a dream with a straight neck. The only thing I had to tweak when it came back was the pick up height which was a little too low on the neck (lacked richness) and a little to high on the bridge (too harsh)

This is indeed a truly fine instrument however it is not like a strat you cannot disrespect a les paul cos it will break real easily especially at the headstock which is a reputed damage point. 59 les paul reissues also have nitro finishes which is thin and dinges easily. That being said if you treat Les Paul with respect they are really reliable. I would comfortably gig with this guitar but be careful of greedy looks.

Never had to deal with them never want to, I have some friends who have absolute horror stories to tell about Gibson customer support. Unless you are famous you are a number and a pot of money and that's it. If you want great support and people who attach value to client relations deal with a smaller company but they don't make Les Paul do they? Hmm An eternal dilemma.

I've been playing on and off for about 5 years and I am lucky enough to also own a Musicman Luke, a Mexican Strat and a Collings D2H. My amp is a Rivera Suprema and I have a couple of nice effect pedals (RMC 3, Sweetsound Mojovibe, Prescription Yardbox, MXR EVH phase 90, Ibanez TS9, Line 6 DL 4).

If you are into buying a les paul and you can afford it go with a Custom Shop Historic they are the better instruments and if you can afford an R9 and want a flame top go for that. However, you really need to research les pauls on the net and check a few out before laying down your hard earned cash.

I would definitely buy another Gibson Shop Les Paul they are like owning old british sports cars a pure joy and half the excitement is knowing if they are going to work. Before buying my R9 I had tried PRS McCarty and Singlecuts and although they are great guitars in their own right if you are looking for a Les Paul only a real own will do a McCarty is more an SG on steroids.

This guitar is so beautiful it makes my other electric guitars seem like toys and they are already nice guitars.

'04 '59 reissue. Cherry burst, off balance flame. 8 pounds 2ounces, great C shape neck. carve maple, solid mohagony body and neck.
replaced gibson burstbuckers with vintage humbuckers.
set up from the factory was crap. I had to do all the final se up work myself.

This is vintage Les Paul and is very versatile. It does what I need it todo very well. ZZ, Allmans, three Kings etc. it is the most vibrant and organic sounding guitar I ever played.

everthing was perfect except for the final set up of the nut and neck, bridge and saddles.

It's solid as a rock and wil be around long after me. I need this one on every gig.

Gibson is Gibson

Honestly, The best thing I ever played or owned. My guitar shpopping days are over.

My R9 is a 2001 version, AAAA flame top with cherry sunburst. 57 classic P/U's. The flame is stunning and in certain light, almost 3 dimensional! The finish can only be rated as outstanding, even the sunbursting is very even with no blems anywhere including the sides and back. Came with the brown authintic case and documents. THe nut was very well finished and handles the regular Slinky's with a lower than average action with no buzz anywhere. The whole guitar has beautiful ringing sustain(31 seconds...most LP's are good for maybe 20...)acoustically which tranlates into great clarity when playing clean or dirty through my Mesa Mk 1.

Killer tone without the mud! the mid and high mid cut through especially well when playing both PU's and backed off slightly on the tone and vol. The bridge pickup cuts like a knife with the volume above 8 while the neck gives a warm jazzy feel at less than 7 on vol and tone. Killer sustain(you have to have the volume down around 5 to really play CLEAN...). Great for Blues/rock!

I bought the guitar very slighty used. It was perfect except for the bridge height which was a simple tweek. I play with a pretty low action and this guitar is clean and clear with no buzz anywhere even when I'm romping on it pretty hard...No flaws and the nut was perfect for each of the six strigs. Mine has the baseball bat neck, which fits my style of playing very well. The finish, as stated above is unbelieveable...

I've played this several times live and it is built like arock. Even the tuners, which everone else says is a weakness, have not been a problem. I own a LP Custom Black Beauty as well, and this guitar is as versitle and solid as the Custom. I don't plan on using it alot for live work as it will need to be carefully taken care of to preserve the finish..the Black Beauty is my workhorse...

Never had occasion to deal with them

This is the best guitar I own and I've owned several Les Pauls of different vintage. The Gibson Custom Shop instruments I have experienced are of excellent quality and playability. I also own a 59 ES 335 re-issue that is outstanding. Along with Black Beauty, I own a 1954 40th Anniv. Strat(the limited edition) from the Fender custom shop that is a spectacular guitar as well. I also have a 1988 American Standard Strat that is another workhorse and a blonde Tele. Play all of them through a Mesa Boogie Mk1 1X12 with a rack of Boss effects and a Mesa V-Twin pre-amp(which is really KILLER!!!)

59 Historic, plain top, washed cherry. Made in 1999, mine has 57 PAFs, great medium fat neck (MAYBE a bit slimmer than my beloved 58), and medium jumbo frets, which is the biggest difference from its predecessors. Otherwise, it's the same as all other reissue 59s.

The Les Paul sound is, in my opinion, THE sound, and the 59 nails it. I also own a 58, and the 59 is maybe a bit brighter, but both ooze that chalky, expressive, bluesy driving tone which made LPs what they are. I've played several modern versions and they somehow fall just short of that vintage vibe. Somehow these reissues manage to produce a woodier or earthier tone which is closer to that I've heard from many vintage LPs. Played thru my Carr Rambler, the sound can go from a moan, to truly thunderous. This is a blues machine, and if you play blues, or anything based in it, there is just no other choice. Accept no imitations. In reference to THAT one, obviously disgruntled entry here, if you want to be EVH, get something else. I'm sure your Peavey Wolfgang is a fine axe, but ITS sound doesn't suit me at all.

Mine was set up, say 95%, but with just a bit of tweeking, it was rendered perfect. Like most others I've tried, the neck was straight and stable, and these LPS need VERY little relief to play fast and well. The frets were perfect and well polished, and the nut was perfect (this is the only area where I've seen less than perfect on others as far as cosmetic issues go, but the function is always spot on). All else is nicely fitted, tight, and smooth, and this one has the most spectacular back I've ever seen. Mine is about 8 1/4 lbs., thankfully on the light side, which seems to be prevalent among the historic reissue series.

Just pick up nearly any LP, and you immediately get the impression that these are tanks, and this one follows suit. Seems that it could withstand years of hard use (I shudder at the thought), but I'd buy a modern, less expensive version to gig with. These things are works of art, and the thought of some drunk asshole knocking it over or bathing it in beer will keep mine away from live use. Enjoy these at home or in the studio, get a used USA LP Standard for road use...they still sound very LP. In addition, these reisues all have a fantastic thin coat of nitro, which undoubtedly is another factor in their superior tone, but is a bit more subject to wear than the thicker coating found on modern production LPs.

I've read about some owners' frustration with them, but I've gotten a quick and courteous response each time I've emailed or called. Haven't presented any tough issues to them, but they did seem to care about any question or request.

I've been playing for many years and owned or own most of the top brands, as well as the more esoteric s/a Anderson, PRS, National, and the like. I currently own 3 LPs (a 'road' LP, as well), a couple of Fender Custom Shop Teles, and a cool National Reso. All of these axes have a soul. PRS, et. al. are great products, but are missing something more life-like, that is obvious, at least to me, when played. The 59 is the epitome of this quality. It may seem like a lot of hype, until you really play one. It's only a great value if you come to understand that point. I'd pay even more, if I had to.

2000 '59 Les Paul features - Classic 57's - basball bat neck and great flame - Darkburst (all hail Duane!) - Honduran Mahogany body. (I think the Mahogany used is no longer Honduran)

Yes - finally a clean pickup sound on a Gibson. The "hot" pickups Gibson usually puts out are a little too much for my taste. I like my overdrive at the tube/amp level not at the pickup level. It sounds like every Les Paul I have heard on recordings, but not like every Les Paul I have ever owned (6 since 1973) - the rest never quite had the sound I was wanting - so they were sold as fast as they came in. I am satified and not looking for "that" one anymore. I understand that 2000 was a Hallmark year for the '59 reissue (best flame so far ? Honduran Mahogany) and I have to say mine is prett' good.

Every thing was cut well. Pickups were perfecly adjusted. Action was normal low - I like it it a little higher for sustain and my personal feel. Have to say, these 59s rock, if you dig tone and sustain. It really does cause you to ignore your other guitars. So be kind and play 'em all. But, you'll go to #1 for a tone fix.

The HumVee of guitars. Baseball bat neck and heavy grained Mahogany is beefy. Solid as a tank.

A little stand offish on details. They don't like to give out too much history on a year's model - Like what woods etc. - I had to use other reosurces to get details on my particular serial number and Model year. Didn't answer a couple e-mail questions. But found other Gibson resources.

Played since 73. Have had many guitars and many amps. I still have favorites. Telecasters, Strats and Les Pauls. This is my favorite Gibson so far, and as of late, my best electric. And one of the better ones I have played. I played a couple in the 70's that I wish were mine, but alas. This is cool - I may save up for a 2004 '59 if they come out with good woods (flame etc.) I like the BB2s too guys. I just dug the flame on this 2000 which came with 57s.

Something was eating away at me about these after my review of 9/21/03 so I kept looking till I found one with a nice top and decided to give it a go.

Having got one through my own amps I'm ashamed to admit that I was totally wrong about the pickups and they actually have unbelievable definition. I found with the neck pick up and a clean amp I can strum chords and sound almost like an acoustic.
Add these to the constructional properties of this guitar and after many, many guitars I am only now able to nail that combination of tone and sustain. Ocasionally I wonder if they should have put BB2 pickups in both neck and bridge position but they probably got it right.

This guitar came with factory set up, deliberately with a highish action, unlike the ones I tried previously. Set up like this it makes a lot more sense for the kind of music you're likeley to play on one of these. There are still more human signs of construction than on, say, a PRS but the nut on this one is fine. I'm giving 10 to acerage out my 6.

You know what you are getting with this - no more, no less.

Having got a nice one and using it for a while I have to say this Les Paul is going to put pressure on some of the other guitars I own. I'm suddenly wishing I could afford a back up!

2003 Model with Brazilian Fretboard. Has all of the features of its genre.

I have tried 4 of these with 3 different amps and try as I did I could not get a sound I liked from those Busrstbuckers. Far too middly and not enough harmonics for pull offs. The guitars had fantastic sustain and I really don't think the pick ups allow the wood tone to come through sufficiently. I really think that Burstbuckers are over hyped and that the Classic 57 is a better all round design. I have a pair of original PAFs and the Classics sound much closer. This is a sad conclusion because I really wanted to like these pickups.

A well made instrument with a few observed quirks. On 2 samples the mahogany body had knots which went diagonally through the back to the sides and on one the nut slots were far to narrow for the factory strings. Tops have been weak on all of the available ones (bear in mind its September 2003 after the good ones have gone - reflected in the prices) and the washed cherry and faded tobacco are both colors that failed to inspire me. The best example was a Tom Murphy faded one but that was out of my league.
Apart from the above I found the frets too low. These new examples seem to have lower frets than any example I've tried before.

I really, really wanted one of these but not being able to get a stunning looker, low frets and the middly pick ups has left me dissappointed. The Brazilian Rosewood fretboard is something I can easily live without and it looks like I will have to find a pre 2003 model. What a shame.

The 1959 Les Paul Standard reissue. Made in 2003 by Gibson's Custom Art & Historic Division in Nashville, Tennessee. 22 frets. Mahogany body. Solid 2-piece AAAA bookmatched flamed maple top on this one. It's a beauty. Most have an AAA top. Cream binding. Brazillian rosewood fretboard --- LIKE WHO CARES IF IT'S from BRAZIL????!!!! Ebony would be better anyway! No, not historically correct, just BETTER!...Basic 3-way toggle switch, Pickups: Burstbucker 1 (rhythm), Burstbucker 2 (treble). Krummy Kluson tuners---bleh. Needless to say, it has a '59 profile neck--not slim and tapered like a 1960, not a baseball bat like a 1957. Lifton hard case. No humidifier, dishwasher, or lawnmower. If you need more info on the features, go to...

http://www.gibsoncustom.com/Historic/LesPaulSeries/59LPStd.htm

Ask Jimmy Page or Eric Clapton. Seriously, I own a ton 'o Les Pauls, and this '59 sounds the best of them all, despite my skepticism. Sustain, of course, until Kingdom Come. The Burstbuckers were well chosen for the bridge and neck positions. Definitely the right combination. Just as the weight is eve distributed on this guitar, so is the tone. My '57 Black Beauty Custom will give the '59 a run for its money...the '57 is pretty close, but not quite the resonance over the full range of tones. The pickups may have something to do with this however. Maybe one day I'll put Burstbuckers in the '57 and give it a whirl.

This guitar has one of the nicest, tiger-striped flamed maple tops I have ever seen. That's why I bought it. Yes, bookmatched very nicely indeed. But also wide and deep...gotta love it. But don't take my word for it, check out...

http://www.volckmann.com/guitars/93751-4.JPG

...it's even better in person. As with all Gibsons, about 8 coats of nitrocellulose lacquer. Highly unstable chemically, the finish will eventually check all over many years from now. And if I played it enough the finish would rub off in spots. That's the way it is, but hey, it's 'historically correct' (oh boy)!

Great low action, basically set up from L&M Music when I received it. I needed to make some minor intonation adjustments, but no big deal. The workmanship is not immaculate, but close. There is a very slight amount of finish bleed adjacent to the binding in a couple of places. Personally, I think if I am spending $4K on a guitar, I should not see anything at all like this, but I do. And anal as it may sound, it rather pisses me off. And I'll bet no one gives a rat's ass what the strap buttons are like, but yes, they're fine. Another thing that's great about the 1959 is the balance. Yes, it's somewhat heavy, but I really don't care about that. What matters is they way it sits either suspended on a strap or sitting in your lap. And the '59 feels completely well-balanced either way. A light guitar can strain your body if the balance is not right.

I expect the Kluson tuners to absolutely disintegrate within my lifetime---as they always have because they are cheesy and cheap. They are no different now from when they started making tuners before I was born---no improvements whatsoever, and now they are made in Korea I believe. Otherwise, I'd say the guitar is a rock. Still, I would not even consider taking this guitar out and getting a scratch on that fine figured maple top. Maybe after I make my first $ million I won't care. Or if I know I have like a week to live or something, I'll go on a whirlwind tour and grind this axe until only a mahogany stub is left.

Anyway, a nitrocellulose finish is just simply delicate. It will scratch if you breathe on it wrong. Just the way it is. Oh but its HISTORICALLY FREAKING CORRECT!!!!! Slap on some verithane clearcoat and I am just as happy---really.

Never had to use Gibson on this guitar, because it is nearly perfect. I have used Gibson support in the past and I would give them both a rating of "10" in some cases (yes, incredibly kind and helpful), and "minus- 20" in other cases (worse than worthless). It's a mixed bag with these guys depending on who you are dealing with there at Gibson. The warranty lasts a lifetime---which may be how long it takes to get a freaking replacement screw from Gibson's Custom Art & Historic Division.

I've been playing 34 years total, including sort of an extended hiatus. I have an insane amount of guitars, all of them great. Some expensive, some inexpensive. This '59 is definitely 'up there' cost-wise. As with most '59 reissue owners, this one ain't leaving the bedroom! When I go gig out it will be with my workhorse of choice: a G&L Comanche. If it were lost or stolen, I would freak. I would be depressed. I would be suicidal. You wouldn't want to be around me for a few days. I guess the thing I hate about this guitar, as with all 'historically correct' Gibsons is the God-awful cheesy Kluson tuners. They bite, they suck. I REALLY hate these tuners. They slip, they get stuck, they don't turn worth a damn. Grovers or Schallers would be a huge improvement. In fact why stop there? When will Gibson get hip to locking tuners? Probably never. And if they ever put different tuners on a historic reissue, you can bet all the whiney little 'correct' bastards would scream their bloody heads off. What do I love about the '59 reissue? It gives me a hard-on holding a $4000 piece of gorgeous wood in my hands, and the truth is, it sounds like the Holy Buddha himself when I plug it in to my Mesa Boogie. But then again, so does my $1100 G&L. So you see my friends, there is no cure for a guitar addict. I simply won't be happy until I own 'em all.

What I was able to get is a 2001 '59 reissue flametop. Everyone knows the details (i.e. wood, electronics, tuners, etc.) Beautiful flametop, tiger in a very great cherry sunburst. I could never buy the real deal, but this guitar is great. Gibson did it again.

The sound is "LES PAUL" no other sound around. I own 8 other Les Pauls, and the 59 kicks them all in the butt. Great Humbucking sound.

I got it used, but I raised the bridge a little and it plays great. The top is a great flametop and bookmatched. Be used, I found one very small ding, on the top, but you really have to look for it.

This is the guitar of my choice.........All of my others have taken a backseat. The finish is superior and the tiger top is fantastic. Thsi instrument you can depend on it day or night.

Support has been great. I depend on one rep for all of my questions and he has been outstanding in getting back to me.

Nothing else can be said. It is a great keeper......

2003 1959 Les Paul Reissue with Brazillian Fretboard. These 2003 are going to be the most highly collectable since the 1998's which featured the best wood. Gibson just announced that they will not make anymore '59 Reissues with Brazillian rosewood boards......result will be a limited amount of these 2003's. Get 'um will you can! Also in 2003 Gibson introduced the most authentic electronics yet, the sound is unbelievable. You can get pretty close to Slash and Clapton Cream era tone through a marshall.

I was somewhat sceptical about how these would sound and the first test for me when playing any quitar is how it sounds acoustically. Wow is all I can say. These 2003 are the best sounding LP's ever to come out of the custom shop. I have used this one with a Fender Hot Rod deluxe and a Marshall JCM 2000 DSL 401 and both sound unbelievalble. The tone on the marshall is all about Clapton Cream era and Bluesbreakers. Oh yea, throw in Peter Green and Slash.

The action was excellent right from the factory. I use 10's and it has nice low action. The neck is big and beefy but not so much that your hand gets tired playing it. The top is nicely faded cherry with a wavy curly flame top. Looks very authentic and close to a lot of the 98 reissues I have seen.

I really don't think this will ever be played enough to truly test it's reliability and durability. My other LP's and strats will have to stand the test of time. This one will be stored away and admired from time to time

Have not had any experience with Gibson customer support.

I have been playing for 35 years and own several vintage strats and telecasters. Have been a fender guy most my life but couldn't resist these 2003 '59 Reissues. If it were lost or stolen, I would kill myself. Don't want to think about it.

This beauty is a 1986 Re-issue of the 59 LP. 6 digit s/n but I cant remember what it was. Apparently this was the first trial time/era that they started tinkering with the re-issue phenom. AAA top tiger stripe. with 57 humbuckers, but they were replaced by the guy whom I bought it from from Ebay. Actually I won the auction, but did not meet the reserve price. We did everything by phone, and privately from Seatle to Toronto. I still have all the original pick guards and pick ups ,but apparently the '86 models' p/u's were not that accurate(?).He put '96 model 57 re-issues in it ,and it sings beautifully.
This guitar is lite ,about 8.5 lbs, but a thinner neck than i think
the 40th anniversary ones are.(by the way if anyone else out there has an'86 re-issue pls email me, with info you may know about it.)

What can I say. its a paul, and it sounds like heaven through a marshall. the hellish sustain, and creamy sound is enough to make you get a boner!

When I took it to my local music shop, the owner told me that this piece had a great finnish on it. Just like the the Murphy aged ones have these days(murphy?). Action and finish is excellent. Not like the shyte their puttin out today. For 2000$u.s this was a steal. I've been offered $3500 FOR IT BUT NO WAY HOSE'.

When I bring this puppy to a gig, i use it all night. perfect tuning.
the strat stays in the stand, cause i cant put it down. A few dings in it here and there but who cares. Its a beaut.

I emailed gibson, and the guy couldnt tell me a whole lot about it when i told him it was an '86 re-issue. Nevertheless a quick response to emails

playing for 20 years. have a PRS Custom 24 ten top. a Squier SQ serial # telecaster, a yamaha AP-800(complete rip off of a 335, and better made). Play Santana, Page, Clapton, jeff beck kinda style.

I have a Marshall Valvestate 265r which this thing sounds killer from.

This is a Les Paul 1999 R9 40th anniversary which when you send in the warranty you are supposed to get goodies such as an original strap and a repro brown case with the pink lining. I just sent it in so I am still waiting. The top is beautiful 3-D flamed but has verticle grain as well at certain angles it is faded cherry sunburst. At other angles it looks lind of like iodine on a cut kind of yellow with orangy highlights.
The back and neck are dark cherry and look great. The Gibson logo is aged( tinted yellow ) but the crown inlays arent..but I have a 64 J 160 E and the logo and the inlays are still more white in color than yellow. The binding in the cutaway is thin but has a little wider area...its the same on the 57 gold tops and the 58 reissues after this 1999 incarnation. The Tuners are Gibson " Kluson " style which is strange since actual Klusons are available..and the B and high E go out of tune easily. The hardware is nickle plated..and the tone is brighter than the 57 reissue,possibly from the aluminum tailpiece. But the tone is killer and you can play with the dials with the picks both on and hear the depth. The whole guitar vibrates so you can feel what you play. The toggle switch wouldnt stay in the rhythm or treble positions and I had to play with it and scrape the cavitiy a bit to give it more height so the switch had a bit more excursion..and the plastic cap..well there are companies which make one much closer looking to the original..also the high hats are amber and the 59's have gold dials..and this is historically correct, oh and the washer around the toggle switch is not vintage either.

This guitar is loud..it is easily able to overdrive the amp...but it is responsive and sounds good at low volume as well in a fender twin reverb it sounds sweet and clean in a vox AC 15 it rips.... it is a definate all around guitar

I changed the vintage 10s to D'Addario 9s which makes this guitar a pleasure to play..the 10 are stiff and with the clubby neck it wasnt as enjoyable, for me at least to play. The 9s did the trick and with no loss of tone. All the parts were set up well..the action just needed a little raising on the bass side otherwise all was perfect.The frets are perfect. The Rosewood is light in color..I think it has a softer feel than my 57 which has dark dark rosewood . The saddles and nut are perfect. the B and High E tuners will need to be replace as they dont hold the tuning well. I might change them all to the reissue vintage Klusons

All is fine and it is definately a player.. Iam concerned that the neck strap butto is a little too much to the outside placing the strap at a strange angle tilting the neck up a bit.

Havnt used customer support except to ask questions by email..they answer in 24 hrs often with only partial answers and always recommending you find an authorized gibson dealer

I have been playing since Im 11 ..Im 52 now..figure it out. I thought it would be nice to have an R9..why ..who knows..Gibson seems to thing it might be worth something one day..lets see 52 + 40..well I'll never find out
I like Les Pauls..I had a Black 3 pick up Custom in 69, a Tobbaco Burst in 74, an 80 gold top with P 100s and now this and an R7 gold top as well
what I hate about it is that the original Les Pauls were well not so perfect..they were all a little different..now they are using a composite of a few and except for the falme or figuring of the top all the historic reissues are well clones.
I checked out a 61 Les Paul SG with a maestro vibrola tailpiece..it was horrendous..it wouldnt stay in tune for longer than 30 seconds

Good day, fellow musicians.
Here's my shopping bag's content:

- 1-piece Mahogany body, looks rift sawn than quarter sawn
- 1-piece Mahogany neck with Holly peghead veneer
- carved AAA flame Maple top, very conservatively rated
- Rosewood fingerboard, I'm quite sure it's Indian, even though its flowing lines and dark/light patterns would make Ronaldo homesick
- single ring Kluson tuners
- classic '57 PAF humbucking pickups
- ABR 1 bridge
- nickel tailpiece

Standard Gibson USA hardcase made by TKL.

I've never believed the hype. Since these reissues came out in the early '90s, they've become ubiquitous status symbols among baby boomers who gig in their bedroom.
I've just been happy sticking to other, more obscure perhaps, better made handmade American electric guitars, and kept a few cheaper, reliable and replaceable workhorses for club gigging.
This piece came along as a real bargain, some things sometimes have your name written on it.

In short, it sounds fantastic. The acoustic tone is loud and well balanced, with a very lively response which one can "feel", before hearing it. You strum a chord, and the whole guitar vibrates and resonates, up to the headstock.
It's this type of physical reciprocation which makes us better musicians, isn't it?
Plugged in, all its components concur in creating that familiar tone which we've all heard in a barrel of classic rock and blues recordings.
Both pickups are carefully voiced, and the volume and tone controls are very responsive.
Our ideal tonal palette, from a smoky jazz "front pickup + tone knob on 4" Wes-like warmth, to an all out Gibbons grind, is all there.

When I purchased the guitar, I took it completely apart. See, it came as an impossible bargain, so I had to condition myself for possible bad surprises.
While performing the dissection some dark thoughts crossed my mind.
It's like going out with a devastatingly beautiful, elusive woman, whom you bring home and, after a romantic dinner, open up. Just to see what's inside.

Anyway.

All cavities are carefully screened; unlike original '59 Les Pauls, there is a metal shielding plate in the controls cavity, and the pickups routings are shielded with a copper film.
The neck tenon extends correctly into the front pickup's cavity, mahogany entering mahogany, phallic and cleanly executed.

The body is wrapped in very thin, very hard nitrocellulose lacquer, and has developed a few attractive weather lines.

A straight, clean neck, with a manly profile and thickness, pardon me.

All workmanship is top rate, no glue buildup, clean solder joints, immaculately dressed frets etc.
Even the nut is properly cut, a rarity at Gibson nowadays.

The top is finished in faded cherryburst, with the red hue very evenly applied. The 3-D effect on this perfectly matched, tiger stripe flame slab, quartersawn maple is stunning.
However blinding this opulence, I note that the maple top is too closely quartersawn form my taste. The vertical grain is almost as tightly spaced as the flame pattern, an undesirable fishing net effect. This is the (small) price you pay for amazingly consistent flame patterns. A flatsawn maple board would less likely show such dramatic ribbons.
Furthermore, the 2 headstock mahogany "wings", which are glued to the 1-piece neck, are noticeable, and therefore they imperfectly absorbed the cherry pigment.
Ohmygod, I'm being so anal.

A well built guitar, very solid and reliable. Voltaire's Candide told us of the Best of Possible Worlds, and perhaps there I would gig with it.
Unfortunately, I still show off my uncanny musicianship (?) in seedy pubs, populated by cheaply dressed nightflies, human hamburgers, divorced stock brokers and college jocks whose vocabulary starts with "cool" and ends with "dude".
So no. I won't gig with it, never mind a backup.
I will feed my few listeners the harsher notes of a cheaper wood.

Besides measures, parameters, and all this fool's gold which makes us demi-bourgeois suckers waste our money on strung furniture, a great guitar is an instrument which brings out the best in a musician.
This is precisely what this Gibson Les Paul does.
I don't know if it's the prettiest, the lightest, the most historically correct etc.

To me it's beautiful and beautifully it sings.

And, as Keats once said, A thing of Beauty is a joy forever.