Univox Limited Edition Les Paul Junior

Univox Limited Edition
Dark Brown finish
22 frets solid body
VOL/TONE
Gotoh tuners
Short (24 3/4") scale
Stop tailpiece used as bridge prevents accurate intonation.
1 Single coil pickup (originally)

I love the sound of this guitar, I put in a Dimarzio Super distortion and the guitar does not stop sustaining... I use it in drop C tuning and it is the fullest fattest guitar I own. It is soooo solid!

Finish, fantastic. Deep wood grain picks up the light great. Nice action, although with the "stop tailpiece" used as a bridge the intonation is never accurate across the whole neck. Looking for a suitable replacement.

No problems ever. I have sheilded the cavities to reduce hum.

N/A

I've had this thing for over 13 years and I wouldn't be without it. Worst part is of course the original bridge, but the stock tuners are very solid. I want another!

A 2 pick-up in wine red (same specs as others reviewed here). For a 30 year old guitar (not to mention a Japanese copy, which seldom gets any respect and is usually beat to shit) its only got a couple of notable dings or scratches. It was all-original when I bought it a couple of years ago, though the case was missing. I immediately replaced the bridge and bridge pick-up.

I put a Dimarzio P-90 in the bridge which not only sounded way better than the original but mated much better with the stock neck pick-up (which I did like the sound of and so left in). I compared it to an original '68 SG and the Dimarzio was almost identical in output, defination, and colour, but with a touch more lower mids (making a good thing even better, in my opinion). I've never used it live myself (I like larger-bodied guitars), but I was recently producing a band with a 70s vibe (Cheap Trick meets Aerosmith to jam on some Who songs) and this was THE "go to" guitar. It sounded absolutely amazing through a variety of tube amps (Vox, Traynor, Fender, and especially through my mid-rangey old late '40s Sherwood harmonica amp): crunchy and very responsive and dynamic. I had been thinking of selling it as I wasn't using it myself, but after hearing how it records I wouldn't think of parting with it. Kudos to Dimarzio for a fine pick-up.

Pretty good, over all. I tried setting it up with its original fixed / compensated tail piece with little luck. I put on a wound third (as the compensation was a vintage-style 4+2 rather than 3+3), which did bring the G closer into tune, but the string to string balance was comprimised. I ended up putting an old Ibanez Badass-style bridge on it that I had lying around and had much better results. The finish seems a bit thicker and more "plastic" than on any of my Gibsons from the same period but looks OK. Considering the age of this thing, its holding together better than most American guitars I've owned in the 20+ year old catagory. Play-wise, its totally rockin (though a couple of notes choke in the upper reaches of the neck).

To help the tuning stability (damn double cut-aways) I string it with 12s with an unwound G, which makes a real difference. I've not used it live - I wish I felt more comfortable playing live with smaller electrics as this thing's light and feels pretty solid and no-nonsense - but it works out fine in the studio.

I guess they're out of business, but I don't think I'd ever need to deal with them even if they were still around. They built it right (more than I can say for half the Gibsons I've owned).

Considering the price I paid (guitar and pick-up came to just under CDN $400 - and with no case), I didn't think it was that great a deal, especially as I had no real interest in playing it live. However, since hearing it recorded I wouldn't think of parting with it. Computor monitors can get it buzzing (especially through a Pod), but through a cranked tube amp it is nothing short of inspiring. Anyone who's picked it up can't help but rock with it. I'm keeping my eyes open for more of these things (I still remember passing on one for $119 - almost 20 years ago! Fool!). I would personally prefer something like an ES125 as far as a P-90 guitar goes, but this sounds so deadly in the studio that I'll be hanging onto it. It just seems to "sit" so well sonically.

My Univox Special Edition serial# 001559 found it's way into my small collection via the garbage man. as one can imagine, I didn't exactly have a pristine specimen. The neck had been broken off; not at the glue joint as one might expect but stightly topside. The original finish had long been removed with a heat gun and sprayed with an automotive enamel. It looked terrible. It had 1 P-90 left and it was cosmetically damaged but electrically functional. The headstock is an exact replica of the Gibson model and "Univox" is cursive scripted in gold leaf. The tuners are a bit sloppy and the nylon binders have a tendency to split. The body and neck are solid mohogany and the fretboard is rosewood. The frets are quite large. There are individual volume and tone controls for each pickup and all are mounted on a very sturdy pc board with absolutely monsterous traces. The case is a well made form fitting hardcase covered in a saddle colored vinyl and yellow fuzzy lining inside. Since mine was in such deplorable condition, I modified it to suit my needs. It is painted with black nitrocelulose lacquer with a hint of red to matck the Gibson guitar color. The tail peice was replaced with a "leo Quan Badass" for it's ability to adjust intonation. Finally, I installed Seymour Duncan / Seth Lover pickups.

This is probably the most unique guitar I have ever played. It is not very versitile but what it does, it does good. The tone is raw but not rude. The midrange is almost magical. The weight of this guitar gives it incredible sustain. The neck pickup is very warm without being muddy and the bridge pickup is very dynamic. Every nuance comes out, even unintended ones. This guitar is a bit brash run through a Marshall but it truely loves an old blackface Fender Super Reverb run at 7 or 8. The Super's clear yet warm highs don't razor one's ears. The low and midrange almost plays the guitar for you. I am a bit of a noise maker and this is where this guitar stands out.

The neck is quite flat and the action can be set quite low. The truss rod is a bit touchy; a little bit goes a long way. Since this guitar was in such rotten condition, I stripped the body completely. It is solid mohogany and all one piece. I found no glue joints. The neck joint is solid, but, due to its position, has too much flex. This guitar has some tuning issues. The black nitrocellulose lacquer is, however, flawless.

Due to the tuning issues, this guitar is a 2 or 3 song wonder. I would recommend this guitar to be used as an interesting interlude at a performance. If you want to base your tone on this guitar; take 4 or 5 with you. The rest of the instrument is built like a Mack truck.

Not an issue.

I have been playing for about 10 years and started as an application for the tube electronics that I repaired. I am a lousy player but now that I have closed my repair/modifacion shop (due to the economy), I can get down to the business of playing the guitar for pleasure. I own a couple of Strats, a Dou-Sonic, a Yamaha Bass and a cheap acoustic that plays great. Amp-wise, I'm all tube. I own a blackface Super Reverb, a tweed Deluxe, an old Gibson and several Fenderized (spongy) Marshall knockoffs that I made myself. This Univox is a strange animal. I love the sustain and the way the harmonics cascade from the fundimental in a most musical way. I like the way it gives a Fender a fat, brown tone. Did I mention that I hate the neck joint. I have never seen another one of these, so if someone stole it, I wouldn't know where to begin to look. I should mention that I recently did drill and dowell the neck to the body with four 1/8" hickory dowells (run from the neck base to under the neck pickup). This vastly improved the flexibility problem.

I am the original owner of one of these babies, but mine is the single P-90 PU version. Wine red, there were at leats two finishes but both were mahogony with ebony fretboard. I would describe the neck as thin, but as a classical guitarist, ANY electric guitar is thin, and the action unreasonably low for jazz. GREAT, as one poster pointed out, for lead work. I agree - find YOUR sound and let her rip. Not outrageously versatile, this is a guitar you will either love or hate, no doubt about it.

Mine is in near mint condition, but I have replaced the wrap-around bridge as the original did indeed develop indentations that eventually would break the strings. I also replaced the pick guard, as the original...fell apart!

Finish was/is first rate - you would not find this today (environmental factors a major reason - there are many finishes on many products from the mid to late 20th Century that cannot be duplicated for this reason).

Grounding can be a problem with cheapo electronics. See a good technician and this is not an issue. Sound is of course dependent on the PU you use; this one is original and on the dirty side. Mates well with tube gear, but that of course is taste related.

This was ONE fabulous knock-off; I came upon it because I was a young kid who could not scrapte together mre $'s to replace my POS Teisco. I was working with David Sams/Cal Collins in Cincinnati, Ohio at the time, and they both QUICKLY made clear to me that I should buy this guitar. David picked it out, I was, what 13/14 and THRILLED to get it. Now 40, and having owned 20 or so instruments, ALL of them FAR more expensive than this one, I still remember how much I still secretly loved this one over the Ibanez Artist EQ I replaced it with (as "my pride and joy") before going 100% classical.

28 years and it is the same Uni I bought. Remarkably SOLID, all around.

No experience with customer service, but I doubt it really ever existed at this price point.

No Pretense about this guitar - it is special, sure, but at the same time indicative of so many things once right and now all wrong, it would be sad to see it end up as a museum piece. BTW, there were many "unknown" pro players using this guitar - I remember seeing the guitarist for Boz Skaggs and Linda Rondstandt playing them. Perhaps one of the best "BKSIM"'s (Best Kept Secrets In Music).

What we got here is your basic 1973 Univox Limited Edition, which is for all practical purposes a Japanese made double cut 1960 Les Paul Jr. I got it about two years ago at a guitar wholesale show, thinking it was "just another" decent knockoff...it is, however, much more than that. The basics are... Wrap around stop tailpiece, two P-90 style pickups, a three way selector switch, volume and tone knobs for each pickup, set neck with rosewood fingerboard, beefy frets and "no-name" sealed tuners. The guitar is 100% mahogany with the red wine gloss finish from top to bottom and unlike some others I've seen (and I've only seen pictures) it's headstock is an exact replica of the Gibson headstock. The important thing to note about this guitar other than it being a fantastic slab of wood is that it is "the lawsuit model", as Univox was sued by Gibson over it. Most of these were destroyed in customs. They are hyper-rare...as, or more rare than the Gibson it was styled after.

I play primarely metal, so admittedly, there are guitars out there that suit the metal rhythm sound better. I do, however, get into that loud bluesy mode from time to time, and this fills the bill nicely. I have access to and have played it through a wide variety of amplification options, from rinky-dink practice amps to full stacks but usually go straight into my J-Station. The P-90s are noisy, especially in the presence of any sort of TV or monitor, but better in the middle switch setting. The rhythm sound is a mid-heavy grinding grunge, which I can live with. This guitar's forte is in it's lead tones... it's all here, from raw with easy harmonics on the bridge to thick and round at the neck setting. My preferance is in the middle switch setting with the neck tone down and the bridge tone up. On this setting, the LE howls so fine...my favorite lead tone bar none. Oh yea, and it has Nigel Tufnel sustain.

Hey, we're dealing with a 30 year old instrument here, it's going to have it's share of dings, but generally it's in great shape. The action was low and the neck perfect. The only thing I had to do to this guitar was change the the wrap around tailpiece. It was a soft piece of metal and over the years, the strings actually dug into it a millimeter or so. I really didn't know what I had in this guitar until I replaced it.

This guitar is a tank and could easily withstand heavy gigging...just the same, I would rather gig with something that is easily replaced. Everything is rock solid...outstanding for a 30 year old knock-off.
Don't gig without a backup.

Long gone

I've been playing for 15 years or so, but have never been terribly serious about it, which makes me a bit of a hack. Jack of all trades, master of none,...that's me. I've had probably 20 guitars ranging in price from $50 to $500 and this Univox is the cream of the crop. My favorite feature is that lead tone..it is amazing. There is nothing I don't like about it...the fact that I'd have a hell of a time finding another just makes it all the cooler. If it were lost I'd...no, we won't even go there. If it were stolen, I'd hunt the bastard down and beat him with my Kramer Striker until there is nothing but blood and plywood shards left.

I just recently bought this Univox, Made in Japan, copy of a Gibson Les Paul Junior (or Special?) double cutaway. It's wine red, has 22 frets with two P-90 style pickups . i assume they are the original ones. in fact the guitar seems to be all original except for the bridge which looks like the original wrap-around, non adjustable one was replaced with a wrap-aroud intonation adjustable one. Neck scale is typical Gibson 24.75". it has two volume & two tone pots plus a toggle switch located just above the neck volume control. I've been told this model is from the late 60's or early 70's so i don't know what the body is made of. i assume it's mahogony. The neck is probably mahagony with a rosewood fretboard. Tuners appear to be original. It has a few dents & dings but hey it's a 30 year old guitar! It came with a nice old hardshell case. The outside is good but the inside fabric is falling apart. Does anyone know if there's a place that refinishes guitar cases??

This guitar is your basic rock'n'roll guitar. Great P-90 sound. A little noisy at hi-gain settings, but to be expected. I play it through an Ampeg Jet II reissue & also through my new toy a Line 6 POD 2.0. Sounds almost Strat-like. I especialy like the bridge pickup. Neck pickup is nice and full sounding too.

Bought it used so i can't comment on factory set-up. It came with 9-42's which seemed a little too thin for a Gibson scale so i had the shop set it up for 10-46's. Now it plays like buttah!!!
It's in great shape for a 30 year old guitar with a few dent, dings & scratches.This only adds to the charm.

My only complaint is that suffers from a weak neck joint as did some Gibsons from this era. If you tug on the neck a little (which i do not recommend) it's almost like having a built in whammy bar! BE CAREFULL!!! Should last a lifetime. No backup needed.

Univox has been out of business for how many years? Bought used so it doesn't apply anyway.

I've own all kinds of guitars, Strats, Teles, etc. in my 30 years + of playing, this ranks as one of the best. In my opinion this MIJ copy is better than the original (and a hell of a lot less $$$) I like Univox's so much now that i'm looking for the Mosrite Ventures bass copy (Hi-Flyer?). If it were stolen i'd cry for a week & then look for another one.

I recently purchased a 1973 Univox "Limited Edition" copy of a 1960 Les Paul Junior double cutaway...for a paltry $100. The guitar is a dead on EXACT copy of a Gibson 1960 LPJ...I own also own the real thing and I am shocked at how exact this guitar is. It has a wine red finish, with a set neck (not the typical Univox bolt on) and a single P90 pickup. A single volume and tone control. When I found the guitar at a local music store it had another no name pick up installed. I happened to have a real 1987 Gibson P90 laying around and installed it...the screw holes matched exactly. This guitar is virtually identical in shape, size, tone, playability, and looks as my real Gibson for which I paid $2,000. I actually feel thrilled at the deal I got and rather stupid for having paid so much for the Gibson after playing this guitar.

After installing the P90, I "A/B'd" this guitar with my vintage Gibson 1960 Les Paul Junior. It sounded and played and felt identical. With the exception of the logo the guitars are virtually the same. The sound is that classic Keith Richards, slap a capo on the 7th fret and play midnight rambler tone. Also great for a Can't You Hear Me Knocking or anything by the Replacements. From a features standpoint is it has the same limitations as all Les Paul Jrs...a single pickup has a limited range...but it's a great range to be in.

The finish on this guitar is excellent a 9 out of 10. Substantially better than my real Gibson Junior. The guitar appears close to new with the exception of a few unexplainable screw holes in strange places. The action is low and straight as an arrow. Honestly it has every attribute of my Gibson...I have got to find more of these things. The craftmanship and finish work is top rate. I read that this was Univox's first attempt at a high end set neck guitar and that they were subsequently sued by Gibson. They should have been sued... it is an exact precise copy.

The guitar has held up for almost 30 years and is as playable as one could ever ask. I expect this guitar to last a long time.

Univox and the folks who made this guitar are long gone... so support is not an issue.

I've been playing guitar for over 30 years. I have mostly Gibsons including 3 Les Paul Juniors. This Univox is a permanent welcome addition to my collection and it will get played regularly. What can I say except thanks to the guys who made this 30 years ago. They were true craftsman. I now have another vintage Gibson for $100. Impossible you say...that's OK I am headed to Ebay in search of another one.