Les Korn is a reclusive character who makes only as few instruments a year. This Archtop has a very D’angelico Contemporary vibe about it right down to the headstock design…. This is a serious handmade professional instrument that is worthy of a connoisseur who will appreciate the fineries of the artist who built her. There are some things I wish I could keep for myself and this is one of them.
Serial no.: 14706
Made in Tucson AZ
Carved Englemann Spruce Top; Highly Figured Maple back/sides/neck
This is such a beautiful guitar… I’m a leftie myself, but like many of my clients I have one problem and here’s a hint…… She resides at the same address and holds the purse strings…….. but for you luckier leftie’s this baby is a treat!
We’ve been servicing this guitar since new and we know every bit of her. Amazing tone and playability not to mention, scarcity. Mid 90’s through to early 2000’s are my favourite years for Gibson production. Build and finish quality is high and the quality of the timber used in this guitar is sublime.
Here we have a lovely mid ’50’s ES125 fully set up and ready to rock… Whether it be Jazz, Fuzz or Country, this guitar has it all going on…. here’s some facts
Originally purchased for Jackson’s rare Guitars in the late 80’s
Finish is in great condition however a re-finish may have been done at some stage.
The pots date to 10-53
The “sloped” headstock puts the age at ’55 or before.
The P90 is original, however, the cover has been modified; probably as a result of the fact that many of these covers pulled away from the body owing to a lack of flexiblility… You Gibson nuts will know about this!
The serial number is unusual, if a little hard to read. From what i can make out it looks to be “SP0228” with what looks like a 4 on the end.
The bridge may or may not be original.
But with this knowledge in hand, at the end of the day this is a lovely guitar with amazing tone and playability.
You don’t need me to tell you how beautiful this girl is. We’ve had a few things to get around like the neck set problem, electronics and what type of bridge will do justice to her. The neck we removed (actually age and several bad gluing job did it for us… But we didn’t fight it!) We then removed a whole section of the neck heal which we deemed weak and replaced it with a maple insert and a vertical dowel running right through the center. For the bridge, we ended up making a one piece compensated jazz bridge out of striped ebony. She really belongs in the hands of a professional, however, she’ll also take being owned by someone who really loves her. She’s plays like butter and the tone both acoustically and electrically is warm and woody.
Just playing this guitar acoustically is fun. Really comfy “D” neck and warm, woody tone define this little Gem. She came to us gutted and in need of some loving…. below is listed work we’ve done this beautiful little thing.
1. Re fret
2. Re install the electronics having first cleaned, lubed, and then tested them thoroughly. There is nothing more painful than getting the electronics in only to find a broken wire etc, especially with wire this old.
3. Set up with 11-49 (can be re set to anyone’s preferred free of charge)
Additions and non genuine….. As mentioned earlier two potentiometers have been replaced. The original bridge and scratch plate are supplied, however we found that a Bigsby bridge worked better tonally….. Bigsby hmmmm? now that’s an idea……
I present to you the Burns Vibroslim Circa 1964…..Now if there’s one thing I know about you Burns Folk and that is you’re all a bit mad! Kind of like me and triumph TR7’s… only “special” friends get it….. with that said, this beast sounds huge and plays real slick having just been re fretted and set up, I’ve never worked out why Burns Guitar’s didn’t appear more in the heavier end of classic 60’s rock as they really are built for the job….Love it!