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.
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.
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.