Most of us have limited access to real vintage pieces, especially models that haven’t been molested. It can be the same for many guitar makers who may base their ’59-alike builds on far-from-vintage instruments, or even use books such as The Beauty Of The ’Burst (Yasuhiko Iwanade) as their guide. When it comes to ageing and relicing, it can be just as difficult: not every artisan working in this area has a real piece to study before they create their ageing. Evaluating authentic ageing, then, can be just as difficult.
The TV Yellow finish of our Murphy Aged ’57 Junior illustrates another typical problem: there’s not one definitive colour. Some are more sand-like, mustard or a brighter, deeper yellow – and even if there were a precise colour, is Gibson (or any ageing artisan) basing the colour on how it would have looked in 1957 or how it would look some 60-odd years on? A carefully cased guitar is going to look very different from one that’s been used and abused, even if they had consecutive serial numbers. And then, of course, whether it’s a finish, a pickup or a neck shape, there’s the “Oh, they were all different back in the day” caveat that can be a great get-out-of-jail-free card for any relicer, or indeed faker.
There’s plenty of truth in that caveat, of course, especially since Gibson, and other makers back in the 50s and 60s, didn’t use the precise computer-assisted machining tools that most use today. Necks, in particular, were hand-finished from more rudimentary machining, and the sort of variances that are out of spec today were commonplace back then.
The finish of our Murphy Aged ’57 Junior illustrates a problem: there’s not one definitive colour
Denne historien er fra August 2021-utgaven av Guitarist.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra August 2021-utgaven av Guitarist.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
BASIC INSTINCTS
The sophisticated range of Swedish-designed guitars made by .strandberg* has lured thousands of players over to the headless side. But the company's new stripped-back Boden Essential model is its strongest play yet for the hearts and minds of mainstream players
Second String
As PRS's more affordable USA-made S2 line moves into its second decade, the series gets a revamp with - at last - USA-made pickups and electronics. What took so long?
PABLO VAN DE POEL
When a band from The Netherlands describes themselves as 'raw, psychedelic Southern rock', it may take a little cognitive processing to work out what that might mean. One listen to DeWolff, however, and you will be duly transported to the 60s for some fuzzed-out rock 'n' roll
THE BERNIE MARSDEN COLLECTION
With a fabulous collection of the late Bernie Marsden's guitars, amps and other highly collectable music gear going under the auctioneer's hammer on 11 June, we were thrilled to have the chance of a sneak preview
LENNY KRAVITZ
Some 35 years since the release of his debut LP, for his 12th record, Blue Electric Light, Lenny Kravitz is back again with equal doses of vigour and vibes, using vintage guitars and the purest valve amps
GEORGE VJESTICA
You may not know him at first glance, but the work of Stoke-on-Trent native George Vjestica has probably impacted some of your favourite albums and movies
DICKEY BETTS
Emerging from the shadow of Duane to write signature hit Ramblin' Man, the Allman Brothers guitarist was a hard-living pioneer of Southern rock
NICK GUPPY
It is with great sadness that we report the passing of our highly valued amplifier guru, who died suddenly in April
Lucky Break
Alex Bishop blends old wood with new in an attempt to fix a severely damaged guitar headstock
Tones Behind The Tracks
Cedric Burnside learnt at the knee of his fabled grandfather, but his latest album is a hill country blues masterclass on his own terms