"I would have its babies if I could!!"
Feature:
Ok, no accessories except that wonderful pimp daddy pink lined case. The back is one piece mahogany, the maple top has started to check, following what I surmise is the grain lines in the maple top, implying that the cap was not 100% cured - but it just adds mojo!!
My main complaint is the crappy inlay quality on the fingerboard. There is a 1mm gap filled with gorilla snot glue holding the mother of plastic fretmakers in place - surely this could have been avoided! the fretboard itself is a nice piece of rosewood with tight graining and not dried out like so many I see these days.
But the poor quality of the inlay work really bugs me when everything else is just about perfect.
All the hardware is superb, but it benefited from the upgrade to the CTS pots and bumblebees.
Quality:
As I stated earlier there are no quality probs except for the craptacular inlaying on the neck where the trapezoids are about 1mm smaller than the routed out holes for the inlay. Must have been made by an amateur - cannot understand how it slipped thru their q-control (which as we all know nowadays is pretty non-existant)
Value:
Absolutely - well, certainly the early Classics - dunno about the new ones - I would recommend you buy an old (1990-1992)second hand one - cannot comment on the new ones
Desirability:
YES YES YES!!! That carved top is like a sensual woman's body! All curves. It is an iconic design which performs as well as the day it was designed and will continue to do so.
DOn'tbother with these silly "custom shop" jobs - just search around for a Classic - I prefer these to the Standards - the neck has about the best profile I have found (for me, obviously) and it just shouts "I am a quality instrument" when one plays it. You just know, from picking it up that you could stand in front of a crowd of 150,000 people and communicate with them all with the sound and soul of this axe.
Sound:
OK, not played A 1959 Standard, but I do know that my 1991 Classicthru my Marshall AVT50 and my little Brian May Vox gives me superb sustain and tonal range. Gutsy and classic when dirven (especially if i turn up the gain but not use the overdrive on the Marshall)and when I turn the tone controls down (CTS pots and bumble bees retrofitted) I can evoke a great jazzy feel.
It has a sustain to rival a biblical patriarch lifetime, and is really sensitive to my feel that I want to get out. Thisguitar is very difficult to fault - even had the legendary Gary Moore play it (he was in the shop when I got it back from a set up) and he said "F***ing nice guitar you got there, mate!"
Support:
No real dealings - just enquiries regarding serial nos of other guitars - when I remarked on the poor inlays they were not in the slightest bit interested as I was not the first buyer.
Overall:
Never will sell it - nope. Will add to my collection, and have done, but this is my workhorse.
I have played a lot of LPs and this one leaves them ALL standing, especially (considering the HUGE price) a Jimmy Page Custom shop job which had a crappy nck join.
Thanks for your vote. Can you specify what about this review did or did not help you?