Les Paul Supreme
The beautiful patterns of highly figured “flame” maple tops became the hallmark of the Gibson Les Pauls of the late ’50s. Today’s Les Paul Supreme takes it to an even deeper dimension. It starts with a stunning AAAA carved maple top and back, both mounted on a chambered mahogany body and adorned in seven-ply binding on top and three-ply binding on the back. The magnificent headstock features custom five-ply binding, an ornate earth inlay made from abalone and brass, with a pearloid “Supreme” banner draped across the front, and brass truss rod cover. The neck is crafted from a single piece of mahogany, then hand-sanded to perfection and given Gibson’s traditional ’50s rounded profile. It is topped by a dark ebony fingerboard, with gold-tinted frets and Gibson’s classic pearl split-block inlays. The Supreme is outfitted with gold hardware, and two of Gibson’s most revered pickups: a 490R Alnico II pickup for the neck, which provides a warm, full sound with a slight upper mid-range boost, and a 498T Alnico V for the bridge, which is wound hotter to produce enhanced mid-range and high frequencies. Both pickups are carefully hand-wound at Gibson USA in Nashville, Tennessee. The Les Paul Supreme is only available in Heritage Cherry Sunburst.
Finishes
Hot Points
The Gibson Logo
The most innovative and revolutionary stringed instruments of all time have carried the name Gibson—the Les Paul, the ES-335, the Explorer, the Flying V, the SG. The list goes on and on. There is no mistaking the classic, hand-crafted mother of pearl logo, inlayed into a pressed fiber-head veneer that is then glued to the face of the mahogany headstock. A thin coat of lacquer finishes the process. It is the most recognizable logo in all of music, representing more than a century of originality and excellence. There is simply no equal.
Angled Headstock
The magnificent headstock of the Les Paul Supreme features custom five-ply binding, an ornate earth inlay made from abalone and brass, with a pearloid “Supreme” banner draped across the front, and brass truss rod cover—all exclusive to the Les Paul Supreme. The rest is classic Gibson, starting out with the carving of each headstock from the same piece of mahogany as the neck. It is not a “glued-on” headstock, and the process takes craftsmanship, time, and effort. But the rewards are worth the effort. The headstock is carefully angled at 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain.
Adjustable Truss Rod
The adjustable truss rod is a Gibson innovation that revolutionized the guitar. Before this ground-breaking discovery in the early 1920s, the truss rod was used only to strengthen and stabilize the neck. By making it adjustable, the truss rod now allows a guitar to be set up using a variety of string gauges, as well as string heights. This easily accommodates any style of playing, and allows a limitless range of set-up options. And by placing it at the base of the headstock, the adjustable nut is easily accessible, even while the strings are still on the guitar.
’50s Rounded Neck Profile
No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional ’50s neck profile is the thicker, rounder profile, emulating the neck shapes found on the iconic 1958 and 1959 Les Paul Standards. The neck is machined in Gibson’s rough mill using wood shapers to make the initial cuts. But once the fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.
Nickel and Silver Alloy Fret Wire
The traditional “medium/jumbo” fret wire on all Gibson guitars is a combination nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) specifically designed for long life and superior wear. It is given a gold tint before it is shaped by hand, then cut to an exact 12-inch radius. After hand pressing it into the fingerboard, a machine press finishes the job to eliminate the gap between the bottom of the fret wire and the fingerboard.
Split-Block Inlays
The classic pearl split-block inlay is one of the most distinguishable features of several traditional Gibson archtops, including the LeGrand and Super 400. A figured, swirl acrylic gives these inlays that classic “pearl” look. They are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers.
Set-Neck Construction
Like all classic Gibson guitars, the necks on the Les Paul Supremes are distinguished by one of the more traditional features that have always set them apart—a glued neck joint. Gluing the neck to the body of the guitar ensures a “wood-to-wood” contact, no air space in the neck cavity, and maximum contact between the neck and body, allowing the neck and body to function as a single unit. The result? Better tone, better sustain, and no loose or misaligned necks.
Mahogany Back and Maple Top
There isn’t anything more critical than the marriage of a Gibson Les Paul mahogany back with a maple cap, as well as the regimen involved in selecting the right wood and the formula to dry it out. First, the wood is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. These onsite inspectors also ensure that the plain maple comes from corporations adhering to the forest-saving standards of the Rainforest Alliance, of which Gibson is a proud member and sponsor. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This ensures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and helps control the shrinkage and warping of the woods, in addition to helping reduce the weight. It also helps with improving the woods’ machinability and finishing properties, and adherence to glue. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Chambered Body
There’s something about playing a Gibson Les Paul with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the solid mahogany backs of Les Pauls using a Computer Numeric Controlled (CNC) router before the maple top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.
GIBSON’S 490R AND 498T PICKUPS
The mid to late 1960s saw the emergence of a very different type of music coming from the clubs of England. It was an interpretation of the blues that hadn’t been heard before, and it was much harder, more rocking, and definitely louder than anything else before it. As such, this new genre’s players were demanding more powerful amplifiers with increased volume outputs to satisfy their sonic explorations. This led to a call for a more versatile pickup to split coils through a push/pull knob, and prevent the microphonic feedback that occurs when the volume is turned up to maximum levels. Gibson answered this call with the introduction of the revolutionary 490T and 490R pickups (“T” for treble, and “R” for rhythm), which has the traditional characteristics of the original “Patent Applied For” pickups, but with two key modifications. First, a four-conductor wiring scheme allows the 490s to be connected to any push/pull knob, which lets players split the coils and increase versatility. Gibson also introduced wax potting, which does away with any air space inside the pickup—thus lessening the chances of microphonic feedback. The result is a humbucker with the tonal characteristics of an original PAF, with a slight increase in upper mid-range response. The Gibson 498T bridge pickup is the 490’s ideal complement. Taking the 490 one step further, the 498 swaps the Alnico II magnet to an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs. The pole pieces on the 498T are also aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.
Tune-O-Matic Bridge
The Tune-o-matic bridge was the brainchild of legendary Gibson president Ted McCarty in 1954. At the time, it was a true revelation in intonation, and set a standard for simplicity and functionality that has never been bettered. This pioneering piece of hardware provides a firm seating for the strings, allowing the player to adjust and fine-tune the intonation and string height in a matter of minutes. It also yields a great union between the strings and body, which results in excellent tone and sustain. It is combined with a separate “stopbar” tailpiece, essentially a modified version of the earlier wraparound bridge. To this day, the Tune-o-matic remains the industry standard. It is the epitome of form and function in electric guitar bridge design, and is one of the most revered and copied pieces of guitar hardware ever developed.
Nitrocellulose Finish
Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell—as a poly finish does—and allows the wood to breathe and age properly.
Body Binding
To see the process of putting the binding on a Les Paul Standard is to really appreciate the effort and attention that Gibson puts into each instrument. A lone craftsman will carefully glue and fit two pieces of binding around the entire body of a Les Paul. He then winds a single, very long piece of narrow cloth around the entire body until the entire surface is nearly covered. The body is then hung to dry for a full 24 hours before it is unwrapped and moved into the next phase of production. It has been done the same way for over 100 years. Some question the value of adding binding, but Gibson believes it is a fundamental part of our rich guitar-making history. The binding around the Les Paul Supreme’s headstock adds a certain element of style and grace, while the binding on the top and back of the body augments the guitar’s elegant character, and helps protect the edges of the body. The neck binding is installed over the fret ends, which eliminates sharp fret edges and provides for a smooth neck and easier playability.
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