A very interesting interview, and as close as you can get to a tour of the Murphy Lab itself! Thank you to all at both Andertons and Gibson for arranging this!
Tom said, "...but.." as he picked up a guitar in order to make a point @ 28:13 but never got the chance. Kept looking at the guitar as if he was politely waiting for his chance to show something that he wanted us to see. Feels like we missed something interesting there. Personally wouldn't want to pay extra for this treatment but it sure is neat to contemplate. Good video!
The man who really saved Gibson was Henry Juskiewicz - it was in 1986... but you are too young to know :) This Tom only worked in a booth spraying guitars, man...
@@dreee13 Not from him... and sure not from me ;) I have 5 Les Pauls from late 80s/early 90s.. and I´d buy another in a heartbeat, unseen, unplayed.. they are THAT good - they never let a dud out of the factory then. They destroyed them instead.. and the wood was pure magic.. unobtanium these days
@@tomasvanecek8626I remember when Gibson stamped a 2 on the headstocks for blemished guitars and they were cheaper. They lost the stamp and just sell everything with blems. Kalamazoo forever! I’ll buy Heritage, not Gibson. I personally think Gibson will soon move Nashville to China. They see what people will pay for Epi’s and see dollar signs.
@@dlmyrs That was in Norlin years. There were no "seconds" after late 1986. Those blems were destroyed on a friday late afternoon, by recollection of an employee I trust. simple as that. The QC after Juskiewicz took over was merciless, believe it or not. Also the production numbers were so much lower than later... they had a firm grip, the quality was astonishing. Ever held a Gibson from that era in your hand ? I am sure you didnt.
I go back and forth on ML guitars. I love the aging but I’m a little partial to buying a VOS CS and just playing it till it looks like a ML. However I’ve never really thought about it from the perspective of not having to worry about scratching it because they’re already there lol. I’ve gained a whole new appreciation for the craftsmanship that goes into building a ML guitar
They dont "build" any SINGLE guitar.. they just take off the racks a good looking CS Gibson.. and do a poor, funny relicing job.. Man, I´ve just seen a ML aged Firebird.. with an "arm wear" , where it NEVER can be ... so pathetic.. A fool and his money ;) sheesh
I used to work in furniture restoration and we'd take brand new Oak Doors and hit them with chains, paint around the nails with black ink, hit the bottom and top with the back of a saw to create cracks, it was an art form because there's a fine line between looking old and looking stupid! I once matched a brand new Oak Door to go with a 200yo door using the above techniques with off the shelf stains, tea bags, coffee and managed to match the look exactly to match with the 200yo door!
Lutherie is the same. A pal is a violin maker and repairer. He learned aging/antiquing techniques as part of his training. When you repair a vintage instrument, you must make the repaired part look as if it belongs on the instrument. You cannot wait for 200 years for the repair to acquire a patina and blend in.
A pub I used to frequent (when I had a social life) wanted to make some changes a few years ago. Remove an old shop counter, extend the bar counter, put in some dividers, install a stove etc. The owner hired set designers and builders. It was done so well, even as someone who went there for 20 years beforehand, I started doubting myself after a while. Questioning whether something was new or had it been there all along. You would be hard pressed to spot which bits are 5 years old or 150+ years old.
Appreciate the transparency and candid discussion on this topic with Gibson and Tom. The fact that there is such a process developed over the years to achieve the look and feel of a worn / vintage guitar speaks to the artistry of the Murphy Lab. It makes me want one more not less because of it. That being said, I can understand the psychological barrier to accepting it as a viable guitar manufacturing process because how the market has responded. I’ve used the baseball glove analogy many times while arguing this with people on the internet. You would never take an expensive, quality baseball glove out the box and use it directly in the field. You would beat up first.
And yet it's a faulty analogy, because the glove will perform better after some drive with it because leather is really rigid at first but mellows with usage. Which is not the case for a guitar, because wood is actually not leather, nor is finish. Closest way this analogy works is with the strings, but that is beyond the scope of reliquing.
@@BlindSp0tz I think you missed it and have proven my point further. I’m speaking on why “pre-distress” or relic’d guitars are appealing. It’s first an artistic interpretation of the guitar’s design and manufacturing process which has been reinterpreted and steeped in lore for over a century. However, they spend an overwhelming amount of time initially focused on the instrument’s stability (the wood) in order to form it into it a guitar. That doesn’t do anything for the actually playability at that point as it’s just a compressed and molded piece of hard wood. It’s the hardware application and finishing that will bring out the true characteristics of the instrument and whether you’re going to buy it and play it.
doesnt seem to happen with other instruments tho. Nobody ages violins or pianos or drums or trombones or trumpets and stuff. This aging thing seems to be only with guitars.
@@deaconddd And I maintain it's a faulty analogy. A dirty worn glove from the 60's will not be something you'll go towards rather than a brand new one that you can beat up yourself in a store. An analogy, by definition, needs a relation between the subject of discussion and the analogy, and there is none here because the "used" part is done for different reasons. 1 is for aesthetic and marketing appeal, the other for actual playability. You only gravitate towards a relic guitar because marketing made you associate a brand new guitar with either beginner/hobbyist guitarist that doesn't spend enough blood and sweat on his instrument, or fall for the very thing that you argue against in your own comment, that older guitars are better.
@@uv77mc85He’s loves guitars. He’s worked really hard to become a better guitarist. He could just get Pete, Chappers, Rabea etc. to make videos if he didn’t love doing it himself.
Nice job lee, no mollycoddling straight to the positive and negative points your customers have told you. Well done Captain. I’m from the VOS is my happy place and 15 years later there starting to check and the dings are all me, the tarnish is all natural. Great job on the Gibson shops, loved the look at all the Gibson plants.
@@SlyRyFry How do you figure that? Gibson was building ELECTRIC guitars before Leo Fender built his first amp (not to mention his first guitar), and Gibson was building acoustic guitars for over 30 years before their first electric guitar.
3 days ago I put a mark on the head stock of a guitar that I've owned for 8 years, I STILL want to tear my hair out. I'll get it fixed hopefully. I own an older Japanese Strat that has wear marks, checking, chips and I love it. Guitarists are weird, it keeps Tom in a job.
Really enjoyed this 😊 I like Tom. He's pretty unguarded about his process, except for the finish formula. I also really like the Murphy lab guitars. I think the pricing is a bit obscene but then all the top manufacturers appear to be thinking up crazy prices these days.
there's an excellent mini doc with Dennis Fano talking about his novo guitars. he says a lot of similar things about the how and why they relic/age their guitars. I love getting to see behind the curtain!
I have a really weird Martin acoustic that had almost no finish on it from the factory. It was only produced for a few years in the early 2000s as an affordable all solid spruce and rosewood guitar. It's basically bare wood, and I think that adds to why it sounds so damn fantastic and why people always think it sounds like an old guitar. Tom is on to something with that.
@@CrossGuitarWorks Martin just called it a "Custom D." I got mine around 2005-06. It's very basic, but all-solid sitka Spruce top and Indian rosewood back and sides. They also made them in mahogany back and sides. They come up now and then on Reverb.
What a cool guy. He's obviously passionate about what he does and seemed very eager to talk about it. Never owned one of his guitars, but maybe someday!
Everyone wants a Murphy lab guitar, reliced or not,the man is best luthier in the business,I seen another video of him scraping the binding on a les paul,it was absolutely amazing to watch, and can only come from years of experience,the guy is a genius.
I was working in one of the original vintage guitar stores in 1974. My employer had purchased some guitars on the road and brought them into the store. I let the sit for several hours and opened an old 335 case up first. It didn't shatter, it was a slow and complete checking. I was horrified. It went from excellent condition to a shattered windshield effect. There is a reason the recommendation to not open the box on your new nitro finish guitar for a day is there.
I’ve just bought a Murphy lab ultra light aged 59 - it’s the best instrument I’ve held in my hands. I have played a vintage 58 before but this Murphy lab is something else. It was made on my birthday this year - the checking is beautiful
About a year ago, I was in the market for a 62-64 ES-335. I'd passed on the chance to buy a '61 a few years ago and bitterly regretted it, so I was determined to find the right guitar. I'd been watching all the usual UK vintage outlets, looking for a guitar with "issues" because I couldn't afford a VGC example, and got to play a few. I was very, very close to pulling the trigger on a piece I'd found at a Denmark Street dealer - '64, cherry, Clapton spec - and it was in my price range. But something wasn't quite right with the headstock - it just looked a bit off. I spent some time studying the photos I'd taken at the dealer and realised the headstock had clearly been smashed to bits and reconstructed, which the dealer was trying to pass off as the usual Gibson headstock break-and-repair. Anyway, accepting that I wasn't going to find the guitar I wanted within my budget, I turned my attention to the Murphy Lab '64 335. And you know what? When I found the right one, there was almost nothing to separate it from an original. The finish cracking was almost identical to the genuine versions I'd played, and the A3 Custombucker pickups have the same hard nose to the note. And the headstock has never parted company with the neck. The only other relic guitars I own are a Custom Shop Strat and an EVH Frankie. People can belittle the idea of relic guitars all they want, but they fill a need in the market. I'm unlikely to ever be in the position to afford an early 60s Strat at £30-50,000, but I've been able to buy a Custom Shop replica. I can't afford a VGC '64 ES-335, I don't have £30,000+ to blow on a guitar, but I was able to sell some stuff and pull the money together for a Murphy Lab 335. That, for me, is the purpose of relic instruments. It allows those of us without hedge fund managers' salaries to get a taste of classic vintage guitars. It's not about posing or faking anything. It's about attaining aspirational instruments that we couldn't otherwise dream of owning.
This! I do own two Custom Shop Strats and they are the best and most playable guitars I have owned in over 25 years. I do have a Mod Shop Strat as well and I really like it but in comparison to my CS Strats, it’s night and day.
I love that the goldtop that you were holding for most of the interview is the exact same as the guitar I bought last year. 2022 Murphy Lab Light aged goldtop with a dark back. I can do an A to B comparison to my 50's Traditional from '16, and the Goldtop always wins by a mile even though my other one is one of the better examples myself or anyone else I know has played. I stand firm that the Murphy Lab is the way to go! They do amazing work there!
I have a friend that builds acoustic guitars and he hangs the guitar from fishing string in a 12’x12’ room and he has a 15” speaker that plays a CD at a really loud volume and goes through normal guitar frequency ranges for 30 days bombarding the wood and instrument strung and tuned to pitch…. And the guitar plays broken in like it was played for 60 years. We are now experimenting with electrics hanging up getting sonically blasted into a looser sound and broke in feel. This is the equivalent of playing it for 60 years. Lighter finish does help… but aged wood and glue that cures right and sound hitting the instrument….. one day everyone will set up a static noise booth much like a PLEK machine… the benefits are real…. Think sympathetic resonance…. This is the cutting edge to making a guitar broke in
I've always liked the look of relic'd guitars. Maybe not so much on the Fender Road Worn series but in general, I'm a fan. Having not played one, I've often wondered how "worth it" the Murphy Labs guitars were... Pete's smile while playing tells me more than anything I could ever read about these instruments.
My Music Man St Vincent has a plasticky polyurethane (durable) finish on the body but it resonates more than any other guitar I've ever played. So for electrics, I don't buy that argument. Those vibrations in the body depend on wood grade and construction (neck joint & every contact point of the strings). The effect of the finish will be absolutely marginal (and probably just in your head). However, in terms of 'feel' and 'looks', I do understand why some people want a reliced guitar. For acoustics, on the other hand, I can definitely believe that the finish has a more noticable impact on the sound, even though all the other characteristics (woods, construction) are still way more important.
Tom generously helped verify a '57 Strat I bought in the 1990's at a Chicago Guitar Show. I'm not into the fake aging but recently bought a Murphy Lab R6 because it sounds and feels fantastic. The finish is fragile. I'd prefer a VOS. But I can't deny my R6 is special.
I don't see a Murphy's Lab finish anytime in my future, but I will say this. I've refinished two Gibson's and old 78 Marauder and a 98 doublecut. Both of them were black with thick plastic lacquer. It came off in really thick sheets. One was sooid mahogany with a maple neck, the other Mahogany body and neck with a maple cap. I refinished them in oil. Not only did both look 1000% better, they both opened up and were extremely resonant with excellent clarity. I put the same pups back in both, it was a noticeable change. And neck-wise, who doesn't love a velvet soft oiled neck? Both of them cost me under a grand a piece.
Love this stuff, just like asking a woodworker to finish a piece of furniture to match a set, it’s a process and it takes knowledge and skill….my 1980 poly finish tele has now worn quite nicely from new, I just played it, but I wouldn’t say no to a Murphy aged! 😎…I see Pete played armed and ready on that SG, nice! 😜
My murphy lab 1956 gold top ultralight is such an incredible guitar. Its seen 300+ gigs now and the factory age blended with road wear have married beautifully, its like a perfectly broken in leather jacket
I would argue that its not 75% of guitarist being offended by distressing on new guitars, the offended parties are just the loudest complainers about what other people like
I love those guitars. They are really amazing and if you can try one, just do it and you will see why, the feel is exactly like a proper vintage instrument. No wonder the price tag, which I think is really fair if you consider the results. Well done Andertons!!
I think it's fair to suggest that only the most resonant / balanced sounding guitars will be cherry picked for the Murphy treatment. I'm willing to bet my house that a dead sounding LP will sound no different with a bit of checking.
Yeah. I have two 64 ML light reissues and I wonder the same. They do have that amazing resonance but they are also some of the most solidly built Gibson's I've owned. Perhaps a little of both make them great. The only other brand that I feel makes great tonal/resonant electrics is Novo (of which I'm also a fan). From what I can tell, if you purchase one of these you'll be getting the best Gibson can make. Perhaps not 3 times better than a standard Gibson (as the price may suggest) but a really great guitar none the less.
Lee’s point about playing a high-end PRS is spot on. Whenever I pick up an axe that’s too shiny & new, I’m almost a little apprehensive to play it genuinely. I’ve got a ‘73 strat that’s naturally beat to shit, and a hot rod ‘52 reissue tele which I re-sprayed sonic blue with stew mac nitro & relic’d myself (pretty convincingly actually, no joke..) When I pick up either of those guitars they just beg to get thrashed like a red headed stepchild. There’s no guilt involved. The relicing also helped eliminate the factory stickiness of the 52’s original nitro finish. By comparison my G&L USA Legacy plays & sounds awesome, I just don’t find myself gravitating towards it that much. It always feels like it just came off the assembly line… 100% personal preference here man, don’t hate 😂
The thinking makes sense up to a point. The reticnece over digging into a pristine, shiny and super expensive guitar is because it cost so much and you don't want to damage something so valuable. That is all logical. What is not logical is to pay sky high prices for the bashed up guitar because you are reticent to damage an expensive guitar.
In my 51 years of guitar, the most resonant electric guitar I've ever played is my 2019 SG Tribute with the satin open pore finish on the mahogany body and a light satin finish on the maple neck. I often play it unplugged on the couch as well as record it unplugged into a mic. I also have an older Epiphone dot neck 335 with a similar finish that is a close second. I'm going to search for a video to see if Vince Gill has commented on the acoustics. He is a bit of an expert in that area.
Great video as always. Funny story I worked at Kramer as a painter in the 80s and Eddie hated new looking guitars and they used to drag the body around the dirt lot behind a car as well as throw rusty chains and other items. Love the show.
The conversation around the different tool used to make the relic marks reminds me a whole lot of the listening to Adam Savage from Mythbusters talk about how makers uses the wildest items to make and weather props for films.
I like the idea of my instrument and me aging together, and that it receives patina and a sonic evolution because I use it. That doesn't mean that I wouldn't buy an aged guitar if it's hella good :D as long as I can afford it
I found this show fascinating. I have a Fender Jazz that I took to Italy with me when I lived there and Alitalia Airlines shush kabobed my case somehow and it totally pissed me off. I took the guitar to a fantastic luthier here in Portland Oregon and asked him if he could repair the damage and he looked at me as if I was mad and refused to help. A couple of months later and saw Sting in concert and being in the front row, I got a very close look at his bass and saw how worn it was and it sunk in. Jaco Pastorius’ bass was trashed by him throwing it around on stage. I now can’t wait to get the wear to really show on my Jazz. Very cool episode!!
I had a relic'd guitar made by a shredder guitar company through an amp guy's company. And I wound up replacing most of the hardware because it was aged to the point where it didn't work. Screws broke off in the wood. It has sonic problems. The nut had to be replaced. Never again.
I am a french horn player and I will say on certain new makes of instrument, the number 1 thing you can do to make them sound better is to take the lacquer finish off. It really does change an instrument.
I own a Gibson Custom Shop R8 in gloss finish and I would t change a thing and I haven’t. I do get the ML thing and people should buy what they want if that makes them happy and they play it all the time. I just like thing’s shiny and new and let in age naturally. I dig the bleed through on the binding, I think it looks cool. Thats why they are replicas and it depends on you what you want out of it. TM is an artist and he believes in what he’s doing, that’s all that matters.
I think the prices are crazy; however, I recently saw an $9k Murphy Lab '59 LP at Guitar Center and asked to inspect it out of the glass case, but didn't play it. It remarkable and stunning to look at. The aging by the Murphy Lab is like a piece of art and is miles more convincing than any Fender CS relics, which I feel like I can easily spot. Whereas the Murphy lab, I would've believed 100% that it was an actual '59 had you told me. They look sharp. Very expensive, but sharp! And no doubt they obviously sound as incredible as they look and certainly feel.
Thank you for doing this vid. There is science so support what Tom is saying. He is correct about the torrification and checking aspects of what he does.
I’ve never really gone out to buy a relic but they do just seem to feel more played in and I like the lack of anxiety about the next dent. They are a bit silly but also nice.
I’ve owned many glossy guitars that I was all worried about getting a mark or ding in it. After having several “aged” and “relic” guitars it’s been so liberating not worrying about them. I highly recommend them but I did just sell all of them to buy a vintage 1968 Gibson Les Paul Custom. After playing those “Reissues” I think they made me want the real deal. For someone that a vintage guitar is out of reach, do yourself a favor and try an aged one. You won’t regret it.
why would i pay someone to scratch up my guitar? why wouldn't i just buy the unreliced one and save money I can't believe how people like you can be so gullible.
Lee thank you so much for doing this, very insightful. And thank you to Tom for being so open. 😃 ( One positive comment to help balance out the relic rage postings.... 🤣)
I work at the Garage, a lot of players buy these guitars. Do we have doctors and lawyers? Definitely. But a huge demographic of my sales are actual players
@vigilantebird8675 as I suspected that people do actually buy them to play. It's a well worn cliche that only doctors and lawyers buy expensive instruments. It smacks of jealousy that those with money buy expensive things. If you've got the money then you're entitled to buy whatever you want and good luck to you.
hey y'all - just hyperbole & jokes - i actually own a murphy lab 335 (and love it) and i'm neither a doctor or lawyer. just a regular schlub who saved up some $$ to get myself a killer present. apparently my joke didn't land well, sry - comedy is also not my day job.
There's a valid reason why Tom said he won't claim it legitimately makes a sonic difference. Because he can't. Once they introduced wax potting the pickups to eliminate feedback, the acoustic reverberating no longer mattered in the electronic circuit. Pickups are no longer microphonic. Meaning the woods, the finish etc, doesn't affect the tone in a significant tangible way. And I'm happy it doesn't. Because I have a Gibson Les Paul, absolutely love it plugged in. But omg does it suck unplugged. It sounds so nasally and midrangey. It's horrid. But when it's plugged in, you don't hear any of that. It warms up, it's crystal clear and dynamic. People forget that wax potting pickups was introduced in the 60s, just after the supposed "golden era of guitars" ended, and pickups stopped getting tonal influences from the body. And there's people on youtube who have done tests by taking the electronics of one guitar, and swapping only the body, to a mica kitchen counter top, plywood, acrylic, metal etc., and the sonic measurements were almost always 100% on the mark each body. Tim Sway I think was the guy who tested it. So yes, I'm not shocked Tom said "I can't claim my aging affects the sonic tone."
The doctor with the $50k guitar in the closet story and the Murphy replica he could now take to the gig, “that’s what it’s all about” and that about sums it up.
Dig it. Id honestly opt for a 59 reissue Les Paul VOS over an aged Murphy Lab because im hard on my guitars and they age quite easily without having a finish engineered to age out of the box. Listened to the video while shopping for custom shop Gibsons lol
WHY is this even an ARGUMENT? Gibson STILL offer their highest quality instruments with the option of a BRAND NEW finish right? Like if someone wants to spend a fortune on 'pre-distressed' designer denim then who cares? As long as I can still get a pair that aren't already ripped, then what's the problem?
A relic guitar I think looks great but it never changes the sound at all whatsoever. If it truly makes it sound better than just don’t but a finish on it to begin with. It’s all for looks only and nothing else.
I couldn't agree more. I'm 68 now and I still have some of the guitars I bought in my teens and twenties. The aging is all mine, I caused the knocks and my belt buckle cause the scratches. That's my kind of aging and when I buy a new guitar now I go for pristine not artificially aged. I don't think it makes sense to buy a scratched new car so why would I buy a worn guitar.
Very interesting interview! I feel like he gave up a few of the proprietary tools and techniques they use and good to know that a TM aged guitar finish is delicate. Great job Lee! 🤘🏼
@@drconflict629really? Lol my opinion is delusional? 😂 I don’t like gibson as a brand but the LP is such an iconic guitar. And I’m mainly a strat player, love my strats so much! But LP is still the best looking guitar
.... I'm now looking at my ML (not so light, light aged) R9 Lester in a whole new light ... still totally in love with it and there is definitely something about that lacquer - RES-O-NATES!
idk, fedex and DHL are pretty good at relic'ing guitars aswell
They can even make the finish and the wood completely disappear in some instances 😂
And for FREE, no need to pay thousands $$ more 😂😂
Not like my ex-girlfriend. She did a pro number to a couple on her way out. 😂
@@ryangunwitch-black Was she crazy on you or your guitars? 😅😆
Underrated comment 😅
A very interesting interview, and as close as you can get to a tour of the Murphy Lab itself! Thank you to all at both Andertons and Gibson for arranging this!
This series of Gibson factory tours was just amazing, loved every minute of each of them! Thanks.
Tom said, "...but.." as he picked up a guitar in order to make a point @ 28:13 but never got the chance. Kept looking at the guitar as if he was politely waiting for his chance to show something that he wanted us to see. Feels like we missed something interesting there. Personally wouldn't want to pay extra for this treatment but it sure is neat to contemplate. Good video!
He interrupted the guy more than once and loved the sound of his voice lol
Really cool how honest Tom is about his thoughts and process. Very interesting interview
An no marketing bs either.
This is the man that saved Gibson more than any ceo ever could.
The man who really saved Gibson was Henry Juskiewicz - it was in 1986... but you are too young to know :) This Tom only worked in a booth spraying guitars, man...
@@tomasvanecek8626it's sarcasm man
@@dreee13 Not from him... and sure not from me ;) I have 5 Les Pauls from late 80s/early 90s.. and I´d buy another in a heartbeat, unseen, unplayed.. they are THAT good - they never let a dud out of the factory then. They destroyed them instead.. and the wood was pure magic.. unobtanium these days
@@tomasvanecek8626I remember when Gibson stamped a 2 on the headstocks for blemished guitars and they were cheaper. They lost the stamp and just sell everything with blems. Kalamazoo forever! I’ll buy Heritage, not Gibson. I personally think Gibson will soon move Nashville to China. They see what people will pay for Epi’s and see dollar signs.
@@dlmyrs That was in Norlin years. There were no "seconds" after late 1986. Those blems were destroyed on a friday late afternoon, by recollection of an employee I trust. simple as that. The QC after Juskiewicz took over was merciless, believe it or not. Also the production numbers were so much lower than later... they had a firm grip, the quality was astonishing. Ever held a Gibson from that era in your hand ? I am sure you didnt.
I go back and forth on ML guitars. I love the aging but I’m a little partial to buying a VOS CS and just playing it till it looks like a ML. However I’ve never really thought about it from the perspective of not having to worry about scratching it because they’re already there lol. I’ve gained a whole new appreciation for the craftsmanship that goes into building a ML guitar
They dont "build" any SINGLE guitar.. they just take off the racks a good looking CS Gibson.. and do a poor, funny relicing job.. Man, I´ve just seen a ML aged Firebird.. with an "arm wear" , where it NEVER can be ... so pathetic.. A fool and his money ;) sheesh
I used to work in furniture restoration and we'd take brand new Oak Doors and hit them with chains, paint around the nails with black ink, hit the bottom and top with the back of a saw to create cracks, it was an art form because there's a fine line between looking old and looking stupid!
I once matched a brand new Oak Door to go with a 200yo door using the above techniques with off the shelf stains, tea bags, coffee and managed to match the look exactly to match with the 200yo door!
Lutherie is the same. A pal is a violin maker and repairer. He learned aging/antiquing techniques as part of his training. When you repair a vintage instrument, you must make the repaired part look as if it belongs on the instrument. You cannot wait for 200 years for the repair to acquire a patina and blend in.
@@laurieharper1526wonder if he learned from my dad. He travels the world teaching violin varnishing to match 350 year old instruments..
@@fixedgear37If your dad taught at the London College of Furniture, he may have done.
A pub I used to frequent (when I had a social life) wanted to make some changes a few years ago. Remove an old shop counter, extend the bar counter, put in some dividers, install a stove etc. The owner hired set designers and builders. It was done so well, even as someone who went there for 20 years beforehand, I started doubting myself after a while. Questioning whether something was new or had it been there all along. You would be hard pressed to spot which bits are 5 years old or 150+ years old.
Appreciate the transparency and candid discussion on this topic with Gibson and Tom. The fact that there is such a process developed over the years to achieve the look and feel of a worn / vintage guitar speaks to the artistry of the Murphy Lab. It makes me want one more not less because of it. That being said, I can understand the psychological barrier to accepting it as a viable guitar manufacturing process because how the market has responded. I’ve used the baseball glove analogy many times while arguing this with people on the internet. You would never take an expensive, quality baseball glove out the box and use it directly in the field. You would beat up first.
And yet it's a faulty analogy, because the glove will perform better after some drive with it because leather is really rigid at first but mellows with usage. Which is not the case for a guitar, because wood is actually not leather, nor is finish. Closest way this analogy works is with the strings, but that is beyond the scope of reliquing.
@@BlindSp0tz I think you missed it and have proven my point further. I’m speaking on why “pre-distress” or relic’d guitars are appealing. It’s first an artistic interpretation of the guitar’s design and manufacturing process which has been reinterpreted and steeped in lore for over a century. However, they spend an overwhelming amount of time initially focused on the instrument’s stability (the wood) in order to form it into it a guitar. That doesn’t do anything for the actually playability at that point as it’s just a compressed and molded piece of hard wood. It’s the hardware application and finishing that will bring out the true characteristics of the instrument and whether you’re going to buy it and play it.
doesnt seem to happen with other instruments tho. Nobody ages violins or pianos or drums or trombones or trumpets and stuff. This aging thing seems to be only with guitars.
Look how easy you fall for a marketting campaign. It's absurd. Would you buy a new car that someone had made rusty and ruined the paint?
@@deaconddd And I maintain it's a faulty analogy. A dirty worn glove from the 60's will not be something you'll go towards rather than a brand new one that you can beat up yourself in a store. An analogy, by definition, needs a relation between the subject of discussion and the analogy, and there is none here because the "used" part is done for different reasons. 1 is for aesthetic and marketing appeal, the other for actual playability. You only gravitate towards a relic guitar because marketing made you associate a brand new guitar with either beginner/hobbyist guitarist that doesn't spend enough blood and sweat on his instrument, or fall for the very thing that you argue against in your own comment, that older guitars are better.
Tom is the coolest. Lee’s enthusiasm makes for a great interviewer.
A great insight into the modern work that Tom does. I'm sold on the idea of an ultra light aged Gibson now, what he said makes sense. Cheers.
The whys and wherefores of relicing aside, I love Tom's enthusiasm, he obviously loves what he does and he does it well.
Lee's enthusiasm is amazing after all the years in the business of guitars.
enthusiasm for money. Don't mistake it for something else
Ain't that the truth!
He's a salesman.
@@uv77mc85He’s loves guitars. He’s worked really hard to become a better guitarist. He could just get Pete, Chappers, Rabea etc. to make videos if he didn’t love doing it himself.
Nice job lee, no mollycoddling straight to the positive and negative points your customers have told you. Well done Captain. I’m from the VOS is my happy place and 15 years later there starting to check and the dings are all me, the tarnish is all natural. Great job on the Gibson shops, loved the look at all the Gibson plants.
I love how Lee says “people want their Fender Strat to look new” at the Gibson custom shop! 😂
I've never gotten this in guitar videos, how everyone is terrified of mentioning that other brands exist lmao
Without Leo Fender there wouldn't be Gibson guitars so they probably don't mind
Prolly got an beer or two to much at lunch.
@@SlyRyFry
How do you figure that?
Gibson was building ELECTRIC guitars before Leo Fender built his first amp (not to mention his first guitar), and Gibson was building acoustic guitars for over 30 years before their first electric guitar.
@@charlesbolton8471actually Les Paul made his log guitar in Epiphone factory 😂
3 days ago I put a mark on the head stock of a guitar that I've owned for 8 years, I STILL want to tear my hair out. I'll get it fixed hopefully. I own an older Japanese Strat that has wear marks, checking, chips and I love it. Guitarists are weird, it keeps Tom in a job.
Same. I look after them as well as I can. If they eventually look old it will through playing and general handling. Not abuse or fake aging.
Again, these Saturday videos from your trip have been amazing. Thanks Captain and Tom! Such a great watch!
Really enjoyed this 😊
I like Tom. He's pretty unguarded about his process, except for the finish formula. I also really like the Murphy lab guitars. I think the pricing is a bit obscene but then all the top manufacturers appear to be thinking up crazy prices these days.
there's an excellent mini doc with Dennis Fano talking about his novo guitars. he says a lot of similar things about the how and why they relic/age their guitars. I love getting to see behind the curtain!
I have a really weird Martin acoustic that had almost no finish on it from the factory. It was only produced for a few years in the early 2000s as an affordable all solid spruce and rosewood guitar. It's basically bare wood, and I think that adds to why it sounds so damn fantastic and why people always think it sounds like an old guitar. Tom is on to something with that.
Hi what model is that please?
@@CrossGuitarWorks Martin just called it a "Custom D." I got mine around 2005-06. It's very basic, but all-solid sitka Spruce top and Indian rosewood back and sides. They also made them in mahogany back and sides. They come up now and then on Reverb.
That is your opinion and as valid as mine.
What a cool guy. He's obviously passionate about what he does and seemed very eager to talk about it. Never owned one of his guitars, but maybe someday!
This interview is my favorite. Tom Murphy is a hero to me. Lee and Pete, you are too. Much love brothers! 🖤⚡️
I used to hate relics. Now I have one (Yamaha custom shop), and I love it. Very liberating not having to worry about scratching your guitar!
Just play it, don't worry about it. You already own it.
@@Scott__C I'll worry about my own guitars myself, thank you very much
@@bostonbesteats364 No worries, and I'll play mine.
Thank you for this. Great interview 😊
You should be proud of your first dent, it means its your guitar and its been on the field
you’ll be surprised…… any way it’s my guitar , DHA
"It's not like back in the day with the robot tuners"
Oof! Felt that. Classic Lee!
I relic’d my LP the old fashioned way: I played the hell out of it for 30 years. 😁
The real way😎
ain't got no time fo dat
🤣🤣🤣🤣
@@cowcat7436 🤣🤣🤣🤣🤣🤣
Is the right way to go!
Because you’re genius … not all players are .
Knowing how much Lee loves and appreciates the distressed guitars, I love that he had this experience. Fantastic interview!
Everyone wants a Murphy lab guitar, reliced or not,the man is best luthier in the business,I seen another video of him scraping the binding on a les paul,it was absolutely amazing to watch, and can only come from years of experience,the guy is a genius.
I was working in one of the original vintage guitar stores in 1974. My employer had purchased some guitars on the road and brought them into the store. I let the sit for several hours and opened an old 335 case up first. It didn't shatter, it was a slow and complete checking. I was horrified. It went from excellent condition to a shattered windshield effect. There is a reason the recommendation to not open the box on your new nitro finish guitar for a day is there.
Don’t you wish you had that guitar now?
I really wish I had the 335 we sold to the Dead. That is the one you saw Bob play for years. It was incredible.
I’ve just bought a Murphy lab ultra light aged 59 - it’s the best instrument I’ve held in my hands. I have played a vintage 58 before but this Murphy lab is something else. It was made on my birthday this year - the checking is beautiful
About a year ago, I was in the market for a 62-64 ES-335. I'd passed on the chance to buy a '61 a few years ago and bitterly regretted it, so I was determined to find the right guitar. I'd been watching all the usual UK vintage outlets, looking for a guitar with "issues" because I couldn't afford a VGC example, and got to play a few. I was very, very close to pulling the trigger on a piece I'd found at a Denmark Street dealer - '64, cherry, Clapton spec - and it was in my price range. But something wasn't quite right with the headstock - it just looked a bit off. I spent some time studying the photos I'd taken at the dealer and realised the headstock had clearly been smashed to bits and reconstructed, which the dealer was trying to pass off as the usual Gibson headstock break-and-repair. Anyway, accepting that I wasn't going to find the guitar I wanted within my budget, I turned my attention to the Murphy Lab '64 335. And you know what? When I found the right one, there was almost nothing to separate it from an original. The finish cracking was almost identical to the genuine versions I'd played, and the A3 Custombucker pickups have the same hard nose to the note. And the headstock has never parted company with the neck.
The only other relic guitars I own are a Custom Shop Strat and an EVH Frankie. People can belittle the idea of relic guitars all they want, but they fill a need in the market. I'm unlikely to ever be in the position to afford an early 60s Strat at £30-50,000, but I've been able to buy a Custom Shop replica. I can't afford a VGC '64 ES-335, I don't have £30,000+ to blow on a guitar, but I was able to sell some stuff and pull the money together for a Murphy Lab 335. That, for me, is the purpose of relic instruments. It allows those of us without hedge fund managers' salaries to get a taste of classic vintage guitars. It's not about posing or faking anything. It's about attaining aspirational instruments that we couldn't otherwise dream of owning.
This! I do own two Custom Shop Strats and they are the best and most playable guitars I have owned in over 25 years. I do have a Mod Shop Strat as well and I really like it but in comparison to my CS Strats, it’s night and day.
I love that the goldtop that you were holding for most of the interview is the exact same as the guitar I bought last year. 2022 Murphy Lab Light aged goldtop with a dark back. I can do an A to B comparison to my 50's Traditional from '16, and the Goldtop always wins by a mile even though my other one is one of the better examples myself or anyone else I know has played. I stand firm that the Murphy Lab is the way to go! They do amazing work there!
And...have you seen The King's new clothes yet...🤔
Apparently...they are SO fine...
You can't even see them!
Its actually amazing that he’s giving the in house secrets away. You’d think it would be super secret locked down
its common sense
I have a friend that builds acoustic guitars and he hangs the guitar from fishing string in a 12’x12’ room and he has a 15” speaker that plays a CD at a really loud volume and goes through normal guitar frequency ranges for 30 days bombarding the wood and instrument strung and tuned to pitch…. And the guitar plays broken in like it was played for 60 years. We are now experimenting with electrics hanging up getting sonically blasted into a looser sound and broke in feel. This is the equivalent of playing it for 60 years. Lighter finish does help… but aged wood and glue that cures right and sound hitting the instrument….. one day everyone will set up a static noise booth much like a PLEK machine… the benefits are real…. Think sympathetic resonance…. This is the cutting edge to making a guitar broke in
Awesome video Lee! Tom is a master at what he does. It was so cool to see his tools of the trade.
I've always liked the look of relic'd guitars. Maybe not so much on the Fender Road Worn series but in general, I'm a fan. Having not played one, I've often wondered how "worth it" the Murphy Labs guitars were... Pete's smile while playing tells me more than anything I could ever read about these instruments.
My Music Man St Vincent has a plasticky polyurethane (durable) finish on the body but it resonates more than any other guitar I've ever played. So for electrics, I don't buy that argument. Those vibrations in the body depend on wood grade and construction (neck joint & every contact point of the strings). The effect of the finish will be absolutely marginal (and probably just in your head). However, in terms of 'feel' and 'looks', I do understand why some people want a reliced guitar.
For acoustics, on the other hand, I can definitely believe that the finish has a more noticable impact on the sound, even though all the other characteristics (woods, construction) are still way more important.
Too impatient to earn their own mojo.
Tom generously helped verify a '57 Strat I bought in the 1990's at a Chicago Guitar Show. I'm not into the fake aging but recently bought a Murphy Lab R6 because it sounds and feels fantastic. The finish is fragile. I'd prefer a VOS. But I can't deny my R6 is special.
Ultimately, this is psychological product art promotion
Lacquered finishes are my favorite, but a guitar finished in poly can be fantastic
I don't see a Murphy's Lab finish anytime in my future, but I will say this. I've refinished two Gibson's and old 78 Marauder and a 98 doublecut. Both of them were black with thick plastic lacquer. It came off in really thick sheets. One was sooid mahogany with a maple neck, the other Mahogany body and neck with a maple cap. I refinished them in oil. Not only did both look 1000% better, they both opened up and were extremely resonant with excellent clarity. I put the same pups back in both, it was a noticeable change. And neck-wise, who doesn't love a velvet soft oiled neck? Both of them cost me under a grand a piece.
I recently got an R7 Goldtop, I noodle on it unplugged constantly, it’s almost like playing an acoustic, it’s magical!
Love this stuff, just like asking a woodworker to finish a piece of furniture to match a set, it’s a process and it takes knowledge and skill….my 1980 poly finish tele has now worn quite nicely from new, I just played it, but I wouldn’t say no to a Murphy aged! 😎…I see Pete played armed and ready on that SG, nice! 😜
Not the cold. The transition from Cold to warm and vice-versa is what creates finish checking.
My murphy lab 1956 gold top ultralight is such an incredible guitar. Its seen 300+ gigs now and the factory age blended with road wear have married beautifully, its like a perfectly broken in leather jacket
I would argue that its not 75% of guitarist being offended by distressing on new guitars, the offended parties are just the loudest complainers about what other people like
I love those guitars. They are really amazing and if you can try one, just do it and you will see why, the feel is exactly like a proper vintage instrument. No wonder the price tag, which I think is really fair if you consider the results. Well done Andertons!!
I think it's fair to suggest that only the most resonant / balanced sounding guitars will be cherry picked for the Murphy treatment. I'm willing to bet my house that a dead sounding LP will sound no different with a bit of checking.
Yeah. I have two 64 ML light reissues and I wonder the same. They do have that amazing resonance but they are also some of the most solidly built Gibson's I've owned. Perhaps a little of both make them great. The only other brand that I feel makes great tonal/resonant electrics is Novo (of which I'm also a fan). From what I can tell, if you purchase one of these you'll be getting the best Gibson can make. Perhaps not 3 times better than a standard Gibson (as the price may suggest) but a really great guitar none the less.
The captain has Tom Murphy relicing a guitar right in front of him! He's a lucky dude!
Lee’s point about playing a high-end PRS is spot on. Whenever I pick up an axe that’s too shiny & new, I’m almost a little apprehensive to play it genuinely. I’ve got a ‘73 strat that’s naturally beat to shit, and a hot rod ‘52 reissue tele which I re-sprayed sonic blue with stew mac nitro & relic’d myself (pretty convincingly actually, no joke..) When I pick up either of those guitars they just beg to get thrashed like a red headed stepchild. There’s no guilt involved. The relicing also helped eliminate the factory stickiness of the 52’s original nitro finish. By comparison my G&L USA Legacy plays & sounds awesome, I just don’t find myself gravitating towards it that much. It always feels like it just came off the assembly line… 100% personal preference here man, don’t hate 😂
I completely agree. Beat up guitars just make you want to hold them.
Please don’t thrash any step
Children, red headed or not.
@@zorglubmagnus455😂
The thinking makes sense up to a point. The reticnece over digging into a pristine, shiny and super expensive guitar is because it cost so much and you don't want to damage something so valuable. That is all logical. What is not logical is to pay sky high prices for the bashed up guitar because you are reticent to damage an expensive guitar.
In my 51 years of guitar, the most resonant electric guitar I've ever played is my 2019 SG Tribute with the satin open pore finish on the mahogany body and a light satin finish on the maple neck. I often play it unplugged on the couch as well as record it unplugged into a mic. I also have an older Epiphone dot neck 335 with a similar finish that is a close second. I'm going to search for a video to see if Vince Gill has commented on the acoustics. He is a bit of an expert in that area.
That's why high end classical guitars come with a shellac finish, its super thin and minimal protection.
also violins.
This was a fanstastic interview with a true innovator. Thanks guys!
Great video as always. Funny story I worked at Kramer as a painter in the 80s and Eddie hated new looking guitars and they used to drag the body around the dirt lot behind a car as well as throw rusty chains and other items. Love the show.
Tom must just love his work! ♥️🎸🔑
Mr. Murphy thanks for sharing the tools! Very cool.
Yeah, some guys really should just stay behind the scenes in the workshop! lol
I have one of Tom's hand done checking from 2006 and one of the new murphy labs.. love them both
Dr. Nitro if you’re watching we learned everything from you!
The conversation around the different tool used to make the relic marks reminds me a whole lot of the listening to Adam Savage from Mythbusters talk about how makers uses the wildest items to make and weather props for films.
I like the idea of my instrument and me aging together, and that it receives patina and a sonic evolution because I use it. That doesn't mean that I wouldn't buy an aged guitar if it's hella good :D as long as I can afford it
I found this show fascinating. I have a Fender Jazz that I took to Italy with me when I lived there and Alitalia Airlines shush kabobed my case somehow and it totally pissed me off. I took the guitar to a fantastic luthier here in Portland Oregon and asked him if he could repair the damage and he looked at me as if I was mad and refused to help. A couple of months later and saw Sting in concert and being in the front row, I got a very close look at his bass and saw how worn it was and it sunk in. Jaco Pastorius’ bass was trashed by him throwing it around on stage. I now can’t wait to get the wear to really show on my Jazz.
Very cool episode!!
I had a relic'd guitar made by a shredder guitar company through an amp guy's company. And I wound up replacing most of the hardware because it was aged to the point where it didn't work. Screws broke off in the wood. It has sonic problems. The nut had to be replaced. Never again.
I have a 2023 50s standard and slash November burst. Both play amazing!
Playing the guitar is a great way to age and relic your ax too!
It is the only way if you appreciate character and despise fraud. The relic thing is crazy.
Did you like your thick lacquer neck, or sand it, like I did? I sand my necks …. For playability…. Does that offend you?
I am a french horn player and I will say on certain new makes of instrument, the number 1 thing you can do to make them sound better is to take the lacquer finish off. It really does change an instrument.
Tom Murphy is cool as milk. What a guy!
I own a Gibson Custom Shop R8 in gloss finish and I would t change a thing and I haven’t. I do get the ML thing and people should buy what they want if that makes them happy and they play it all the time. I just like thing’s shiny and new and let in age naturally. I dig the bleed through on the binding, I think it looks cool. Thats why they are replicas and it depends on you what you want out of it. TM is an artist and he believes in what he’s doing, that’s all that matters.
I think the prices are crazy; however, I recently saw an $9k Murphy Lab '59 LP at Guitar Center and asked to inspect it out of the glass case, but didn't play it. It remarkable and stunning to look at. The aging by the Murphy Lab is like a piece of art and is miles more convincing than any Fender CS relics, which I feel like I can easily spot. Whereas the Murphy lab, I would've believed 100% that it was an actual '59 had you told me. They look sharp. Very expensive, but sharp! And no doubt they obviously sound as incredible as they look and certainly feel.
Tom is a cool Guy, works on Guitars all day, meets cool people, Saved Gibson, and has a well earned Beer Gut! 🍺 great life!
Super interesting. But the sonic properties change are 🐍 oil.
Yep. All a marketing gimmick for people who got more money than brains.
Thank you for doing this vid. There is science so support what Tom is saying. He is correct about the torrification and checking aspects of what he does.
I scratched up my charvel and got 2 extra tones
I’ve never really gone out to buy a relic but they do just seem to feel more played in and I like the lack of anxiety about the next dent. They are a bit silly but also nice.
I'm convinced more than ever that Lee Anderton has shares in gibson, in fact I think he has shares in everything.
Well, he kinda does, given that he “shares” the profits with Gibson every time he sells one.
Good for him if he does.
I’ve owned many glossy guitars that I was all worried about getting a mark or ding in it. After having several “aged” and “relic” guitars it’s been so liberating not worrying about them. I highly recommend them but I did just sell all of them to buy a vintage 1968 Gibson Les Paul Custom. After playing those “Reissues” I think they made me want the real deal. For someone that a vintage guitar is out of reach, do yourself a favor and try an aged one. You won’t regret it.
why would i pay someone to scratch up my guitar? why wouldn't i just buy the unreliced one and save money I can't believe how people like you can be so gullible.
Without a doubt, the original daddy of relicing is Vince Cunetto 💪🏼
The key to relicing is light and tasteful. Murphy lab does a great job at it
Lovely guitars, interesting discussion but ultimately a triumph of marketing over science. But if that’s your thing then fair play.
Lee thank you so much for doing this, very insightful. And thank you to Tom for being so open. 😃 ( One positive comment to help balance out the relic rage postings.... 🤣)
36:31 - "i worked on a doctor's guitar one time" - he just described 98% of the murphy lab business model.
They are expensive but not that expensive. I compare it to buying a used car. Expensive yes, unobtanium no.
wow, are 98% of Murphy lab guitars really sold to doctors? interesting statistic.
I work at the Garage, a lot of players buy these guitars. Do we have doctors and lawyers? Definitely. But a huge demographic of my sales are actual players
@vigilantebird8675 as I suspected that people do actually buy them to play. It's a well worn cliche that only doctors and lawyers buy expensive instruments. It smacks of jealousy that those with money buy expensive things. If you've got the money then you're entitled to buy whatever you want and good luck to you.
hey y'all - just hyperbole & jokes - i actually own a murphy lab 335 (and love it) and i'm neither a doctor or lawyer. just a regular schlub who saved up some $$ to get myself a killer present. apparently my joke didn't land well, sry - comedy is also not my day job.
Exceptional interview! Thanks for the insight. Totally wasn't expecting anything this in-depth.
He added $50 to the price of that guitar when he hit it with those keys.
I really enjoyed this Lee andTom!
when Tom rattled the keys on the back of the Les Paul I did a involuntary gasp.
Just went from Murphy lab to Murphy aged. +$3k
But the tone of the guitar improved each time he did it 🤣
6:50 also for the time period mentioned people wanted the scooped sound, which along with “modern” wiring is a good fit for the thicker finish
There's a valid reason why Tom said he won't claim it legitimately makes a sonic difference. Because he can't. Once they introduced wax potting the pickups to eliminate feedback, the acoustic reverberating no longer mattered in the electronic circuit. Pickups are no longer microphonic. Meaning the woods, the finish etc, doesn't affect the tone in a significant tangible way. And I'm happy it doesn't. Because I have a Gibson Les Paul, absolutely love it plugged in. But omg does it suck unplugged. It sounds so nasally and midrangey. It's horrid. But when it's plugged in, you don't hear any of that. It warms up, it's crystal clear and dynamic. People forget that wax potting pickups was introduced in the 60s, just after the supposed "golden era of guitars" ended, and pickups stopped getting tonal influences from the body. And there's people on youtube who have done tests by taking the electronics of one guitar, and swapping only the body, to a mica kitchen counter top, plywood, acrylic, metal etc., and the sonic measurements were almost always 100% on the mark each body. Tim Sway I think was the guy who tested it. So yes, I'm not shocked Tom said "I can't claim my aging affects the sonic tone."
Thank you Lee for making this video happen, best wishes and happy holidays 🤟😎🍻💯🔥
My question has always been how do these guitars age? Will the heavier relic'd guitars lose most of their finish in 20, 30, 40 years?
they all age the same it's all the same lacquer formula. only difference is how much you want pre aged from new
furthermore the common wear areas are already worn away on the heavy relics, it would be unlikely to lose any finish in unused areas of the guitar
Thank you Sir Tom, God Bless ya
I was doing this in the 80s. It has more to do with furniture ageing than anything musical. crackle glaze, solvents... it'all just wood tinkering.
Top Notch interview as always. Wish Tom would've talked about the aging process for the back of the necks....also, great playing Pete!
What aging level? Heavy or ultra heavy? I know how it’s done
The doctor with the $50k guitar in the closet story and the Murphy replica he could now take to the gig, “that’s what it’s all about” and that about sums it up.
Dig it. Id honestly opt for a 59 reissue Les Paul VOS over an aged Murphy Lab because im hard on my guitars and they age quite easily without having a finish engineered to age out of the box. Listened to the video while shopping for custom shop Gibsons lol
WHY is this even an ARGUMENT? Gibson STILL offer their highest quality instruments with the option of a BRAND NEW finish right? Like if someone wants to spend a fortune on 'pre-distressed' designer denim then who cares? As long as I can still get a pair that aren't already ripped, then what's the problem?
You are correct
Amen brother
I agree, while I'm not really into the whole relic thing myself if someone has the funds and wants to spend it on one then hey go for it.
@@InjectBleach booooo :D
humans like to put down others and elevate thrmselves and their choices
This is why there is multiple flavors of ice cream. Not everyone’s toast is the same. I think it is great that Gibson offers you a choice.
A relic guitar I think looks great but it never changes the sound at all whatsoever. If it truly makes it sound better than just don’t but a finish on it to begin with. It’s all for looks only and nothing else.
Thats my thoughts.
I couldn't agree more. I'm 68 now and I still have some of the guitars I bought in my teens and twenties. The aging is all mine, I caused the knocks and my belt buckle cause the scratches. That's my kind of aging and when I buy a new guitar now I go for pristine not artificially aged. I don't think it makes sense to buy a scratched new car so why would I buy a worn guitar.
Very interesting interview! I feel like he gave up a few of the proprietary tools and techniques they use and good to know that a TM aged guitar finish is delicate. Great job Lee! 🤘🏼
Love or hate gibson, there’s something so special about a beautifully worn in Les Paul that no other guitar can match.
You're delusional if you actually believe that bro.
@@drconflict629really? Lol my opinion is delusional? 😂 I don’t like gibson as a brand but the LP is such an iconic guitar.
And I’m mainly a strat player, love my strats so much! But LP is still the best looking guitar
@@bigtony1988 Looks are subjective. Not everyone will share your opinion.
@@iamme625 100%.. why am I delusional than? 😂
.... I'm now looking at my ML (not so light, light aged) R9 Lester in a whole new light ... still totally in love with it and there is definitely something about that lacquer - RES-O-NATES!
Never understood the whole guitar “relic” thing.