THE INTRODUCTION OF THE FIGURED TOP
In the late '50s, the Les Paul models experienced a drastic cosmetic specification change. In late 1958, the color of the top became sunburst, but not an ordinary one. It was a strikingly vivid cherry sunburst.
Since the days of the gold tops, the material for the top had always been maple. Although the material itself did not change, the exposure of the wood required Gibson to upgrade the quality of the material. This was the introduction of the two piece figured top. Prior to this, Gibson had been using high-grade figured maple as a back material for jazz guitars such as the Super 400 and the L5. It was only natural that the same type of wood be used for the Les Pauls. It is true that the production procedure of those fully acoustic guitars is much closer to that of the violin. Though this procedure differs greatly from solid body production, it contributed tremendously, giving the Les Paul model the feel of a traditional Gibson.
According to Ted McCarty, then the president of Gibson, the type of maple utilized was procured mainly in Michigan. However, because of the rarity of the wood and Gibson's unusual dimensional requirement, the supply was very scarce. Most of the time, lumber mills would cut the board to the thickness of 4/4 for flooring. 4/4 is a lumberyard term meaning that the board is rough sawn at 4/4". From there, the rough sawn board needs to be surfaced, losing some of its thickness. So to produce a 1/2" top, the Gibson factory could not use the standard 4/4 cut and had to start with at least 5/4 lumber Since the larger mills aimed at efficiency and were reluctant to custom cut the logs in any arrangement, Gibson had to obtain the material from smaller lumber mills.
Among the existing Sunburst Les Pauls, the percentage of the ones with any figure on the top is less than onethird. Out of this group, about half have figured tops. The book-matched top with strong figures covering the entire top is believed to be a very small percentage of the total number.
THE NAMES FOR THE FIGURES
As seen on the graph pages, there are several different patterns of figure that appear on Sunburst Les Paul tops. I would like to categorize them according to the terms that are used by collectors.
1. Flame
2. Tiger stripe 3. Curly
4. Fiddleback 5. Pin stripe 6. Ribbon curl 7. Blister
8. Bird's eve
More than two of the above figures can co-exist. Following is an explanation for each name,
1. Flame
The most common expression to describe the figure. Although a kind of tiger stripe, the figure of "flame" is more interlocking and has more of a"flickering" effect when viewed from different angles.
2. Tiger stripe
The figure with prominent stripes. This usage is often mixed with "flame," and usually when the stripes are thicker than 1/4".
3. Curly
This is a rather vague word and can cover a lot of different figures except bird's eye. In this book, it is used to categorize wild figure patterns.
4. Fiddleback
The stripes are consistent. The thickness of the stripes is between that of "tiger stripe" and "pin stripe."
5. Pin stripe
This term is used to describe the thickness of the stripes rather than a pattern. Usually 3/16" or thinner.
6. Ribbon curl
Usually runs randomly across the top. It resembles wide (around 5/8" and wider) twisted ribbons.
7. Blister
One of the rarest figure patterns. It is not a stripe but rather a bubble-like figure, somewhere between bird's eye and quilt.
8. Bird's eye
The figure that resembles the eye of a bird. Although not so uncommon as a figure pattern in maple, it was rarely used on Les Paul tops.
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BOOK-MATCHING
The word book-matching is frequently used in the discussion of Sunburst Les Pauls. However, the word is sometimes used without definition. So what does bookmatching reall} mean? Used for centuries in furniture as well as musical instrument making, book-matching is the method where two pieces of wood are joined together in a certain manner to maximize the beautv of the wood. it starts as a block of wood twice as thick. sliced in half and then opened just like a book. The sliced surface on both boards shares the pattern so when opened. the two surfaces together form a symmetrical pattern which creates pleasing visual effects. On acoustic musical instruments such as violins and guitars, this method serves a double purpose creating dimensional strength as well as stability. Ninety-degree vertical quarter sawn boards are used on such instruments.
Since they are not carved out from the back, but are joined to dimensionallv stable mahogany, Les Paul tops do not require this strength factor. For this reason. Sunburst Les Paul tops can have quarter sawn, rift sawn or flat sawn grain creating various pattern combinations of grain and figure. This variation further creates matching methods other than book-matching.
In the following paragraph, I would like to focus on maple as a material to explain the relationship of the grain and the figure on Sunburst Les Paul tops.
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MAPLE AS THE MATERIAL FOR THE TOP
The origin of maple used by Gibson has been the focus of manv discussions. I believe that the material was of American origin without exception. There are three kinds of maple in North America: Western maple. Eastern maple and Hardrock maple. In general, the farther west the softer the maple, contrary to eastern maple which is harder. Any one of these three kinds can have the figure, but the ones that Gibson used were eastern and hardrock.
THE GRAIN AND THE FIGURE
Before we go into any depth on this topic, we must first define the true meaning of grain and figure. The grain is a two-dimensional pattern that appears on the surface of lumber. The annual rings are created as the tree grows, the darker fine being the slower growth during winter. These lines, when cut at certain angles create different patterns on the surface. When quarter sawn, these lines form almost parallel stripes while flat sawn cuts exhibit a very irregular cloud-like flowing pattern.
The figure is a totally different phenomenon on the wood which creates a three-dimensional illusion to the human eve. It is caused by a drastic change of the wood fiber orientation as well as its densitv It usuallv "interlocks with the grain. Although the surface of the lumber may be flat, the light being reflected from a certain pattern hc the direction of the wood fiber creates the 3 dimensions.
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There is a close relationship between the grain and the figure, and together they create Countless variations in the tops of Sunburst Les Pauls. The following paragraphs will explain how they are related from the grain orientation point of view.
GRAIN ORIENTATION
The grain and the figure of the board is determined by the way the log is cut (direction, angle, part of tree. etc.). There are three categories by which cut lumber ntac be sorted.
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1. Quarter sawn
2. Rift sawn
3. Flat sawn
1. This is the kind of cut where the board shows annual rings running at a right angle to the surface. Usually straight parallel grain lines appear on the surface.
2. This is between 1 and 3aid has annual rings running at an angle around 45 degrees. The grain on the Surface is a combination of a straight line and a cloudlike pattern.
3. This is the type with the annual ring-running almost parallel to the surface. The whole surface has a cloud-like grain pattern.
THE LOG SLICE PATTERN AND THE FIGURE
Unless specifically instructed, the lumberyard will cut a log in the pattern called the "slab" cut, which is to slice the log in parallel lines without turning. On the other hand, the log for violin backs are specially cut to obtain every piece as quarter sawn.
To procure enough quantity of quarter sawn figured maple in the size of Les Pauls (which are considerablc larger than violins) at a reasonable cost was an impossible task even for Gibson. As previously mentioned, it is necessanJor a carved Niolin back to be stable, but not the top on a Les Paul. So to avoid unnecessary costs, which in turn would be reflected in the list price, Gibson opted to select the lumber buts figure on.. Gibson already had problems procuring the lumber with its odd dimension requirement of 5/4 lumber, so this decision came out of necessity
When the lumber is cut from the log using the "slab method, few boards become totally flat or quarter sawn. The majority are a combination of the two, Much is rift sawn. lnterestinglp enough, this balance of the miti matches what we see from existing examples.
As a rule of thumb, the folloxcing could he said of the relationship between the slicing pattern and the figure.
1. Generally, figure is strongest on quarter sawn boards.
2. On the other hand, figure may not be so prominent on flat sawn boards.
3. The figure of a perfectly quarter sawn board may not have the most "ntocemenf' as the viewing angle changes, the surface may not be as reflectne.
THE GRAIN AND FIGURE AS THEY RELATE TO TOP CONTOUR
The graceful top contour of the Les Paul is created by carving a block of maple. It is rough carved first with a machine copying a three-dimensional pattern made of steel. The cutter marks are then smoothed out using a stroke belt sander. This special industrial sander has a long belt running in front of the operator just above the top being contoured. The operator then holds a cushioned pad against the running belt to create the desired contour. With a skilled hand, this method can bring out amazing results.
On the '50s l.es Paul, the thickest center part of maple measures 1/2 while thinnest outer edge measures about 9/64". A considerable amount of wood is carved meac to get that contour. And that is interesting here is the relationship between this carved contour and the aforementioned top matching, as already stated, a symmetrical bookmatched top is very pleasing to the ece In the case of hirnintre. where most of the surface is flat. this always holds true as the surface of the cut stays almost intact. On the eontran; on a three-dimensional surface such as the top of a Les Paul, the pattern may not match anymore as the original cut and matched Surface gets carved aNcac The center part of the top is not affected much but the outer edge where 23/Gt of the maple is removed renders it quite noticeable. A1'ith the exception of a perfectly quarter sawn block, the farther away the carved surface is from original, the more the grain and the figure differ. making the matched pattern assymmettical.
In the case of Sunburst Les Pauls, as already mentioned, the majority are either rift or flat sawn. Thus. many of them hace an assymmetrieal pattern. As a rule of thumb, the more the top is flat sawn, the more the pattern becomes assymmetrical. However, the figure appearing on more flat saicn pieces tends to be wavy and interesting. Sometimes flat sawn tops are favored for this reason.
Rift sawn, as explained, is between quarter sawn and flat sawn in character. Among variations in rift sawn, ones that are close to quarter swim are favored for their slightly wavy stripes.
This figure is what collectors call "Flame," This name was given as it is very three-dimensional and "flickers" or -simmers- as the viewing angle changes. Interestingly enough, this figure is seldom if at all seen on perfecty quarter sawn lumber. On rift sawn tops leaning towards flat sawn. the figure becomes as explained in figure 5 Another typical example of the top pattern appears when the lumber shows a rift sawn pattern on one edge and a flat sawn one on the other. This means that the factory had two options to choose from. One was to book-match with a quartered edge in the center and the other was to join the flat sawn edges together. While both are seen on Sunburst Les Pauls, the majority are the former "Quarter in the center" pattern.
SCIENCE OF THE 'BURST
LAYERS OF COLORS
Just as with Stradivarius violins, one of the most sought after musical instruments in the world, there are myths and secrets surrounding the finish of the Sunburst Les Paul. The kind of Les Paul finish of the 1958-1959 era has a very complicated layer structure. And each layer has aged differently which makes it extremely difficult to reproduce or restore - even by the most experienced craftsmen. Also. although the color is simply called sunburst, there is a wide variation in the appearance of a Les Paul Sunburst, especially after it has aged 40 years. Each guitar, while made according to very close standards, was nonetheless slightly different when made. And due to environmental factors such as temperature, humidity, and sunlight, differences have become even greater today.
In this chapter we first study the patterns of the color variation, then move on to an analysis of the structure of the finish, including the definition of the original colors. Finally we will look at the impact of the aging process on the finish of the 'Burst. Only by comprehending each of these steps, can we can see the true unfolding of these complicated processes.
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Top Color Variation
As you can see from the color plates, there are many deviations in the color of a Les Paul guitar. This can be caused by the colorant and the other characteristics of the paint as well as the affects of aging. These can be divided into several different categories. Each category has its own name, a name given by the collectors and aficionados. Following are the names and explanation.
1. Cherry sunburst
This is a strong red finish which looks similar to the way it appeared as it left the factory. it may have faded slightly. There are two types of cherry sunburst: (a) 'S9 Cherry. This was a finish used in 1958. 1959 and early 1960 Les Paul Sunbursts. (b) 1960 Cherry. In the latter part of 1960, the paint was switched to a type more resistant to fading. It has a different hue from the '59 cherry and it is called tangerine red.
2. Faded Cherry Sunburst
This variation is characterized by moderate fading, but not as faded as the teaburst.
3. Teaburst
This is the most often seen color variant on Sunburst Les Pants. The color would be described as a more faded cherry sunburst, with a bellowed colored clear coat. This yellowing is caused by aging. The term teaburst comes from its color being between red and brown, similar to tea. This color is darker than the honeyburst mentioned later, but encompasses a wide range of variations.
4. Greenburst (no sample)
In a few instances, the teaburst, or the honeyburst has turned to a greenish color. This is referred to as a greenburst. This color comes into being when a base yellow and blue colorant in cherry red are left behind after the red has quickly faded.
5. Honeyburst
This is a stage in the fading process between teaburst and lemon drop. It has a very small amount of the sunburst pattern remaining.
6. Lemon drop
This is a term to describe the top with excessive fading - only yellow remains with no sunburst. The color is very similar to the lemon drop candy, hence the name. It is occasionally called "un-burst' or "non-burst."
7. Darkburst
Very dark sunburst It is a burgundy or a dark wine red other than cherry. Some Les Paul tops may have flecks (light brown streaks, which are one of the characteristics of eastern maple). Darkburst was employed to conceal such minor imperfections in the carved top.
8. Tobaccoburst
The author considers this to be a variation of number 7(darkburst). Darkburst has more blue colorant than regular cherry sunburst. So "hen a darkburst fades. the results will be a more brownish hue to the sunburst This can be more pronounced due to excessive yellowing of the clear coat of lacquer.
The Structure of the Finish
-Now that we have considered the color variation, we will move on to the actual structure of the finish. First we must consider the color and texture of the wood - the maple. This will influence the color of the finished top. The base coat, which is a very thin coat of clear lacquer mixed with yellow pigment, also has an impact on the finwished product. So only after you understand these factors are you able to consider the other elements such as layers of colors and the clear coat We are using a scientific approach to understand the guitar - the Science of the Burst.
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1. Color of the Wood
To unfold the mystery of the Sunburst, we must first understand the wood beneath the finish - the maple. Maple appears to be white, but actually the color is not pure white. It has hues of brown and yellow in it. Also. when exposed to ultraviolet light, maple tends to yellow. Other factors include chemical changes that affect the resin found in maple, and oxidation, both of which may darken the wood.
Light brown lines called flecks. Darkburst was used to cover this minor cosmetic imperfectior.
PS Не вздумайте ставить плюсики, приберегите их для празднования очередной юбилейной странички, а то не хватит на всех уважаемых формучан
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