Gibson 1550-07 GUS User manual

O NER’S MANUAL

1550-07 G S

© 2007 Gibson Guitar Corp.

To the new Gibson owner:
Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous
electric guitar from the leader of fretted instruments.
Please take a few minutes to acquaint yourself with the information in this booklet regarding
materials, electronics, “how to,” care, maintenance, and more about your guitar.
And then begin enjoying a lifetime of music with your new Gibson.

The Components of the Solidbody Electric Guitar 4
Gibson Innovations 6
The History of Gibson Electric Guitars 8
DESIGN AND CONSTRUCTION
Body 13
Neck and Headstock 13
Pickups 14
Controls 15
Bridge 17
Tailpiece 18
CARE AND MAINTENANCE
Finish 19
Your Guitar on the Road 19
Things to Avoid 20
Strings 21
Install Your Strings Correctly 22
String Gauge 23
Brand of Strings 23
NE TECHNOLOGY
The Gibson Robot Guitar 24

6
Strap
Button
Stopbar
Tailpiece
Tune-o-matic
Bridge
The Components
of the Solidbody
Electric Guitar
Featuring a Les Paul
Standard in Heritage
Cherry Sunburst
12th Fret
Marker/Inlay Neck Fret Nut HeadstockFingerboard
Tuning
Keys
Machine
Heads
Truss
Rod
Cover
Single
Cutaway
Pickups
Body
Tone
Controls
Input Jack
Three-way
Toggle Switch
Binding
4
Volume
Controls

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Strap
Button
Stopbar
Tailpiece
Tune-o-matic
Bridge
The Components
of the Solidbody
Electric Guitar
Featuring a V-Factor Faded
in Worn Cherry
12th Fret
Marker/Inlay
Neck Fret Nut HeadstockFingerboard
Tuning
Keys
Machine
Heads
Truss
Rod
Cover
Pickups
Tone
Control
Input Jack Volume
Controls
Pickguard
Body
Three-way
Toggle
Switch
5

6
Here are just a few of the Gibson innovations that have reshaped the guitar world:
1894 – First archtop guitar
1922 – First ƒ-hole archtop, the L-5
1936 – First professional quality electric guitar, the ES-150
1947 – P-90 single-coil pickup introduced
1948 – First dual-pickup Gibson, the ES-300
1949 – First three-pickup electric, the ES-5
1949 – First hollowbody electric with pointed cutaway, the ES-175
1952 – First Les Paul guitar
1954 – Les Paul Custom and Les Paul Jr. introduced
1955 – Les Paul Special introduced
1957 – First humbucking pickup
1958 – Flying V and Explorer introduced
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1958 – First semi-hollowbody guitar, the ES-335
1961 – SG body style introduced in the Les Paul line
1963 – Firebird guitars and Thunderbird basses introduced
1969 – Les Paul Personal and Professional with low-impedance pickups introduced
1979 – L.P. Artist with active electronics introduced
1982 – First solidbody acoustic, the Chet Atkins CE
1983 – Les Paul Studio introduced
1990 – Les Paul Classic introduced
1996 – Les Paul SmartWood introduced
1998 – Double-Cutaway Les Paul Standard introduced
2002 – Gibson Digital Guitar introduced
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A BRIEF HISTORY OF GIBSON ELECTRIC GUITARS
Gibson’s legendary acoustic engineer, Lloyd Loar, was experimenting with electric instruments
in 1924, at the dawn of electronic amplification. However, Gibson’s struggle to dominate the
banjo market took precedence through the 1920s, and it wasn’t until the mid-1930s that the
company once again turned its attention to electric guitars. n 1935 Gibson’s Walt Fuller
designed a pickup that was introduced on the E-150, an aluminum-body lap steel. Early in
1936, the pickup was put in a midline archtop model and named the ES-150—ES for Electric
Spanish, 150 for the retail price of $150 for the guitar and amplifier set.
The original ES-150 bar pickup with its hexagonal housing is now known as the “Charlie
Christian” pickup, because it was installed on the ES-150s and ES-250s that Christian used
to establish the new concept of electric jazz guitar.
Gibson made several improvements in pickup design before World War , although many play-
ers still consider the “Christian” pickup to be the best jazz pickup ever made. mmediately
after World War , Gibson introduced the P-90 single-coil, with six adjustable polepieces and
a black plastic cover, usually with “dog-ear” mounting extensions. The P-90 is still in produc-
tion and still sets the industry standard for a single-coil pickup.

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The first postwar Gibson electrics followed the prewar concept of an electric guitar as
a conventional acoustic archtop with a pickup installed on the top. Gibson added a second
pickup to the ES-300 in 1948 and then became the first company to offer a three-pickup
model with the introduction of the ES-5 in 1949.
Although the advantages of a solidbody guitar had been known to Hawaiian steel guitarists for
almost 20 years, it took the persuasive powers of Les Paul, the world’s most famous guitarist
in the early 1950s, to convince Gibson to make a “Spanish style” solidbody. Gibson designed
the new model with a carved top, not only to give it the look of a traditional archtop—a style
invented by Gibson—but also to make it difficult for other makers to copy. Les, who had been
playing a homemade solidbody guitar, nicknamed The Log, since 1941, specified a maple top
cap to increase sustain, coupled with a mahogany back to lighten the weight. Les also speci-
fied the famous “Goldtop” finish.
The Les Paul Model debuted in 1952. The bridge and tailpiece were upgraded when Gibson
introduced the patented tune-o-matic bridge in 1954, and the original single-coil pickups were
upgraded with the introduction of Gibson’s patented humbuckers in 1957. Otherwise, the orig-
inal Les Paul is essentially the same guitar today as it was when it was introduced.

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n 1954 the growing popularity of the Les Paul Model prompted Gibson to expand the line. On
the high end, the Les Paul Custom sported an Ebony finish and low frets for fast action, and
it immediately gained two nicknames: the Black Beauty and the Fretless Wonder. On the more
affordable end, the Les Paul Jr. featured a flat “slab” top and a single pickup, and it became
the best-selling Les Paul of the 1950s.
One year after the Les Paul Jr., Gibson offered a two-pickup version of the slab-body model
called the Les Paul Special. The Special was further distinguished by its yellow-stained “TV”
finish.
The double-coil humbucking pickup, invented by Gibson engineer Seth Lover, debuted in
1957 on the Standard and Custom, introducing the sound that would shape rock 'n' roll music
in the 1960s.
n 1958, Gibson introduced more important design innovations than in any other
year in the company’s history. Gibson president Ted McCarty combined the look of an ƒ-hole
archtop with the performance of a solidbody and came up with a completely new type of gui-
tar—the semi-hollowbody ES-335. McCarty also designed two radically modern solidbody
shapes: the Flying V and Explorer.

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The body of the Les Paul Jr. received a pair of rounded horns to become Gibson’s first double-
cutaway solidbody. And the finish color on the Les Paul Model was changed to Cherry
Sunburst, which let the grain of the maple top show through. The model name was changed
to Les Paul Standard, and the sunburst Standards from 1958-60 would become some of the
most valuable collectibles in the guitar world. All of this happened in 1958.
The new Les Paul Jr. set in motion a complete redesign of the Les Paul line. n 1959 the
Special went to the rounded-horn double-cutaway shape and was renamed the SG Special (SG
for Solid Guitar). n 1960, all four models were revamped and given a new “SG” body shape,
featuring a thinner, double-cutaway body with pointed horns. The Custom, Standard, and Jr.
retained the Les Paul designation through 1962, after which they became SG models.
Gibson’s design innovation continued into the 1960s when Ted McCarty hired legendary auto-
motive designer Ray Deitrich to design a Gibson. The result was the Firebird series, and the
companion Thunderbird bass series of 1963. The Firebirds “reversed” conventional designs,
with their elongated treble-side horn and treble-side tuners. They also introduced neck-
through-body construction and smaller “mini-humbucking” pickups to the Gibson line.

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n response to the rising demand for 1950s-style Les Pauls, the carved-top models were rein-
troduced in 1968. A new model, the Les Paul Deluxe, featuring mini-humbucking pickups
appeared in 1969. The Special was revived in the 1970s and the Jr. reappeared in the 1980s.
The Flying V, Explorer, and Firebird were also brought back into regular production, as musi-
cal styles began to catch up with these ahead-of-their-time designs.
While the original four Les Paul models continued as the foundation of the line, Gibson offered
new variations, such as the Studio, Classic, and Double-Cut Standard, in order to give musi-
cians all the features they wanted in a Les Paul guitar. n the 50-plus years of the Les Paul,
Gibson has offered more than 100 different variations. n 2003 Gibson honored Les Paul for
his achievements as a performer, recording innovator, and guitar designer by presenting him
with a special Artist for Eternity Award.
As Gibson celebrated the 50th anniversary of the Les Paul in 2002, the company rocked the
guitar world once again by introducing the first digital electric guitar. t represents the biggest
advance in electric guitar design since the instrument was invented, and moreover, it serves
notice that Gibson electric guitars will continue to epitomize the highest levels of Quality,
Prestige and nnovation.

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DESIGN AND CONSTRUCTION
Body. The solidbody guitar was invented to increase sustain, produce a brilliant tone, and
eliminate feedback caused by a vibrating top. These qualities are enhanced by wood with high
density, such as maple. Les Paul would have preferred for his model to have had a solid maple
body, but density translates to weight, and a solid maple Les Paul Model would have been exceed-
ingly heavy. A compromise was reached, with lighter-weight mahogany used for the main part of
the body and maple for the top cap. Most of the carved-top Les Pauls have the combination
maple/mahogany body, while the “slab” or flat top models have a solid mahogany body. Flying
V’s, Explorers, and Firebirds have a solid mahogany body.
Neck and Headstock. Mahogany is a time-proven material for guitar necks, and the necks of most
Gibson USA models are constructed of a single piece of mahogany. The Firebird or Thunderbird
V bass neck is made of nine-ply mahogany and walnut (or all mahogany laminates), and it
extends completely through the body. Fingerboards are of ebony or rosewood.

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Neck Specifications. Gibson designs its guitar necks to complement and enhance the unique
characteristics of each model. Neck profiles can be “rounded ’50s” or “slim ’60s” (or a slight
V-shape available only on the BluesHawk). Scale length (string length) is 24 3/4" on the Les
Paul, X-Factor and SG models, 25 1/2" on the Chet Atkins, Americana, and Hawk models and
34" on basses.
Pickups. Hu bucking (double-coil): Most Les Pauls have double-coil humbucking
pickups, which were designed to do what their name says: “buck” the hum caused by fluores-
cent lights, rheostats, and other electrical interference. They accomplish this with two coils of
wire, wound in opposite directions so that they cancel out interference. Also, they produce a
powerful sound that is the foundation of rock 'n' roll music.
Gibson produces humbuckers in a variety of subtle variations, achieved by the use
of different magnets and different combinations of winding turns. n addition, some Les Pauls
have humbuckers without the metal cover pieces, which results in a hotter signal. For individ-
ual model and pickup specs, please refer to Gibson’s website, www.gibson.com.
P-90 (single-coil): Only a few Gibsons—some Les Paul Juniors, Les Paul Specials, and Melody
Makers—have single-coil P-90 pickups. Some have the original “dog-eared” covers; those

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without the “dog ears” are nicknamed “soapbar” because the original cream-colored plastic
covers on the 1952 Les Paul Model resembled bars of soap. When the P-90 was introduced
in 1946, it was the most powerful pickup of its kind. And it still is. Among the many exam-
ples of the P-90 sound are Carlos Santana’s Les Paul Special on Santana’s classic recordings,
Leslie West’s Les Paul Jr. with the group Mountain, and the Who’s Pete Townshend with an SG
Special on Live at Leeds and at Woodstock.
Pickup adjust ents. Although the pickups on each Les Paul are set to Gibson standards at the
factory, they can be adjusted. The height of the pickup can be adjusted by the two screws
found at either end of the pickup, in the mounting ring. ndividual string volume can be adjust-
ed by turning the polepiece screws. Bringing the pickup or pole screw closer to the strings
makes the signal stronger or “hotter.”
Controls. The standard Gibson electronic configuration is two pickups, four knobs, and a pick-
up selector switch. The four knobs provide individual tone and volume control for each pick-
up. Models with only three knobs provide individual volume and master tone control. Single
pickup models have only two knobs—for volume and tone control—and no pickup selector.

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Volu e controls: The two knobs closest to the fingerboard control the volume of the pickups.
The volume knob nearest the bridge controls the “front” or neck pickup; the knob nearest the
edge of the guitar controls the “back” or bridge pickup.
Tone controls: The knob or knobs farthest away from the fingerboard control tone. The tone
knob nearest the bridge controls the “front” or neck pickup; the knob nearest the edge of the
guitar controls the “back” or bridge pickup.
The tone controls are the “treble roll off” or “cut” variety. The tonal quality of the instrument
is darkened by the reduction of treble rather than the addition of bass. The tone control turned
all the way counterclockwise results in maximum reduction of treble and produces the “dark-
est” sound. The tone control turned clockwise to its maximum position allows the pickup’s full
harmonic frequencies to pass through, producing the guitar’s brightest sound.
Pickup selector switch: The selector switch has three positions. The up position selects only
the “front” or neck pickup. The down position selects only the “back” or bridge pickup. The
middle position engages both pickups. The tone and volume controls will only be active when
the corresponding pickup is selected. On models with three pickups, the selector switch
activates the front pickup (front position), the middle and back pickup together (middle
position), and the back pickup (back position).

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The Tune-o-matic Bridge. The Tune-o-matic bridge allows for adjustment in overall bridge height
and individual string length. Height is adjustable up and down by means of thumb wheels
under the bridge at either end. Each string saddle is adjustable forward and back with a small
standard screwdriver. Action adjustment (up and down) is set at the factory to the correct
height for playing comfort and for buzz-free action. Raising the bridge will result in stiffer
action; lowering the bridge will result in faster action but may also result in fret buzz. Climatic
or humidity changes, or changes in string gauge, may necessitate a bridge adjustment.
Any change—in bridge height, string gauge, or climate—can affect the intonation and cause
a guitar to play out of tune in some fret positions. When this happens, the string length needs
to be adjusted, and this is accomplished by moving the individual saddles forward (toward the
neck) or backward (toward the tailpiece). The screw heads are on the pickup side of the bridge,
although there are many Gibsons that have the screw heads facing the tailpiece. To check into-
nation, compare the pitch of a string that is fretted at the 12th fret against the harmonic at
the 12th fret (accomplished by touching the string lightly with the left hand, without pressing
it all the way to the fret). f the fretted note is higher than the harmonic, the string should be
lengthened by moving the saddle toward the tailpiece until the two notes are the same. f the
fretted note is lower than the harmonic, the string length should be decreased.

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The tune-o-matic bridge was designed to adjust for string changes (gauge or type) and other
physical changes but not for problems with intonation due to string wear. Should a string lose
its intonation due to wear, we strongly recommend changing the string and not the bridge
setting.
Adjustable Stopbar Tailpiece. The stopbar tailpiece may be adjusted up or down to change the
downward pressure across the bridge. There is usually no need to adjust the stopbar unless the
strings are moving out of the saddles, in which case the stopbar should be lowered.