Gibson Les Paul Recording guitar page

You can play what everyone else plays -- any new Les Paul Custom off the shelf or you could even buy a custom Les Paul from the factory cranked out by 21st century computer-based programs. Remember, though, this hand made model is a jewel no longer in production. We have seen the LPR's collector value climb significantly over the past five years.

Built by Gibson before they abandoned their roots in Kalamazoo, Michigan it has true old-world Gibson craftsmanship throughout.

(By the way - after Gibson abandoned many of its workers in the 1984 move from Kalamazoo, Michigan to Nashville, Tennessee, many of those original craftsmen stayed right in the same building at 225 Parsons Street making guitars. Those guitars, known as Heritage, are still all hand made and some of the best in the business.)

To those who claim it's not truly a Les Paul I would say "hogwash" and cite that, not only is the Recording a Les Paul creation, but it is the model he has personally preferred for his own use. In some ways it really is the "preferred" Les Paul as he continues to play his own Les Paul Recording model guitar at the NY Jazz Club for years (see pictures below).

Many find the extra switches intimidating. I find them to be tools, available to enhance musical range and creativity.

Generically, all LP Recording models are a bit heavier than most standard Les Paul guitars due to the slightly larger size and type of wood.

The Recording was the most expensive Les Paul model shown in the 1972 Gibson catalog ($675 plus $90 for the case) as compared to the cheaper Les Paul Custom ($615.00 plus $80 for the case) or the Les Paul Deluxe ($495 plus $80 for the case).

Notice that the peghead carries the famous Gibson split diamond traditionally reserved for Gibson's high end instruments.

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These guitars are comparatively rare - many musicians didn't understand the low-impedance pickups nor that the Recording had a built-in Hi/Lo switchable impedance transformer. The LPR pickups were designed by Les Paul as dual-purpose units:

* When recording in a studio (plugged into the sound board), the low-impedance mode gave much cleaner tracks (less noise and hum) and broader frequency bandwidth (a flat line frequency performance output that the mixing board operator could tweak as desired).

* During live performances, the custom designed "Les Paul Low-Hi Impedance Tonal Circuitry" was switched to high impedance, allowing the guitar to be played directly through standard guitar amplifiers.

These special pickups were originally produced by a company called "Dirty Works" that was later known as "EMG".

Besides the Recording model, Gibson offered the Les Paul Personal (available 1969-1972), the Les Paul Professional (available 1969 through 1971) and the Les Paul Signature (available 1973 through 1978) that were also equipped with the low-impedance pickups.

The "Personal" and "Professional" guitars did not have internal impedance matching circuits and did not work well when directly plugged into most standard high-impedance guitar amplifiers. A special inline impedance-conversion transformer was sold to make the adjustment (they were designed to plug directly into a studio sound board). The Hi/Lo conversion circuitry was added into the Recording model allowing studio or live stage use.

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My unit had a professional finish modification (on the front only) by the custom shop years ago.

The necks were three piece laminated Mahogany - quarter sawn with bound ebony rosewood fingerboards offering a classic LP feel. They had mother-of-pearl block inlays.

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Guitars between 1968 and 1973 apparently did not have a dotted "i" in the Gibson logo.

With the peghead as large as it is (standard LP), the guitar maintains a long sustain when required (the larger the headstock the longer the sustain).

The Gibson ads (see below) said that the original tuners were Schaller with sealed gears and winged grips (although there is now some indication that sometimes other brand tuners were used).

According to a now defunct webpage that used to be at http://www.guitarmag.com/issues/gs9711/questions.html - The VOLUTE is that little "hump" or "heel" found behind the headstock on many Gibson guitars manufactured after 1969 and up to 1981. The volute was added to certain Gibson models, beginning in early '70, in order to strengthen the pitch point of the headstock. That particular spot on the neck had always been a structural weak point, especially if the guitar were to fall or take a shot to the headstock. By 1974, all Gibson models sported the new "heel," but aesthetically, that feature was unpopular, so by '81 it was removed entirely from the guitar's design. Although most of Gibson's standard production models made during that time included a volute, many of Gibson's vintage reissues and custom shop guitars released during those years did not.

Gibson claims that all guitars built after 1970 had the words "Made in USA" stamped on the back of the peg head. In my case, this unit does not bear that mark. Apparently it did occur that the factory workers missed this step from time-to-time.

The Les Paul Recording (LPR), apparently manufactured between 1971 and 1980, came in two versions (1971 through 1977) and the even rarer second edition (1977 through 1980).

In the Recording, Gibson built-in the required transformer and added the Hi/Lo impedance switch making it a good all around musical tool.

It may be possible to further estimate the year of your guitar by looking at the bottom of the controls (volume, tone, etc.). In the one pictured here, the numbers read: 70-982 and 1377314. Using the longer number (1377314), the inference is that this part was made during the 14th week on 1973. The "137" indicates the manufacturer of the potentiometer (aka: "pot"). This, along with the guitar's serial number, infer it is indeed a 1973 Gibson Les Paul Recording. CLICK HERE to read more about this issue.

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Below are pictures Woody took showing Les Paul (onstage with his "Trio" and guest musician John Sebastian) playing a Monday evening show (December 8, 2003) using his Les Paul Recording. Plugged directly into the sound board, the low-impedance pickups give a broader tonal response.

So for you non-believer's... what model of Gibson Les Paul guitar was Les Paul himself playing live on stage (above) and for the 2008 AARP Magazine press shoot (below)?

On most every Monday night for many years Les Paul has played at a New York jazz club called the Iridium where he signed the back of my guitar some time ago between sets (only the front of my guitar was refinished... the back, sides, and neck are all original walnut).

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The LPR series guitars had a body slightly larger and heavier than a conventional Les Paul meaning that a standard LP case is too small for it.

Woods used in the construction of these guitars were some of the best available during production. Gibson built the Les Paul Recording using fine-grained clear British Honduras Mahogany wood with a center cross band. Models were also available in a Walnut finish between 1970 and 1973, also in 1979.

In the second LPR version, the guitar could also be ordered in sunburst, brown, and black. In 1979 the LPR could be ordered with a white finish.

The switches allow for built-in special effects. This guitar can emulate various guitars from a standard LP to even a Fender Strat.

LES PAUL Personal - single cutaway multi-bound mahogany body, carved top, raised bound pickguard, mahogany neck, 22 fret bound ebony fingerboard with pearl block inlay, tune-o-matic bridge/stop tailpiece, multi-bound blackface peghead with pearl diamond/logo inlay, 3 per side tuners with plastic buttons, gold hardware, 2 low impedance pickups, mic volume control on upper bass bout, volume/decade/treble/bass controls, two 3 position switches, phase slide switch. Available in Walnut finish. Mfd. 1969 to 1971.

LES PAUL Professional - single cutaway bound mahogany body, raised black pickguard, mahogany neck, 22 fret rosewood fingerboard with pearl trapezoid inlay, tune-o-matic bridge/stop tailpiece, blackface peghead with pearl logo inlay, 3 per side tuners, nickel hardware, 2 low impedance pickups, volume/decade/treble/bass controls, two 3 position switches, phase slide switch. Available in Walnut finish. Mfd. 1969 to 1971.

LES PAUL Recording - single cutaway bound mahogany body, carved top, raised multi-layer pickguard, mahogany neck, 22 fret bound rosewood fingerboard with pearl block inlay, tune-o-matic bridge/stop tailpiece, multi-bound peghead with pearl split diamond/logo inlay, 2 covered low impedance pickups, "Gibson" formed on pickup covers, volume/decade/treble/bass controls, two 3 position switches, impedance/phase slide switches, built-in transformer. Available in Walnut finish. Mfd. 1971 to 1980.

LES PAUL SIGNATURE - offset double cutaway, arched maple top, raised cream pickguard, f-holes, maple back/sides, mahogany neck, 22 fret bound rosewood fingerboard with pearl trapezoid inlay, tune-o-matic bridge/stop tailpiece, blackface peghead with pearl logo inlay, 3 per side tuners with plastic buttons, chrome hardware, 2 low impedance humbucker pickups, plastic pickup covers with stamped logo, volume/tone control, 3 position/phase/level switches. Available in Gold Top and Sunburst finishes. Mfd. 1973 to 1978.

All models, stamped in back top of headstock. "MADE IN U.S.A." stamped below the serial number in back top of peghead, in the same size type, and on two lines with "U.S.A." below the "MADE IN":

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Demo record issued with sales literature for the Gibson Les Paul Recording

Special thanks to BRAD NEAL for sharing his MP3 files of the demo record with us.

There are two mp3 files; one is from side one and the other from side two.

Click on either SIDE 1 or SIDE 2 to hear the Les Paul talking about the Les Paul Recording guitar.

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Any time factories produce products, there are times when things just don't go as planned. Sometimes when the US Mint goofs up on making a coin, collectors pay lots of money to have the screw ups. Well, the Gibson luthiers sometimes made mistakes, too. When instruments weren't quite "up-to-snuff" they would stamp a number 2 on the rear of the peghead. This "2" indicated there was something just not up to spec in that product and it would be sold as a "second." A small surface or finish imperfection (probably not even noticeable to the average person) could cause this event to occur.
Below is a picture showing the back of a peghead of a guitar originally sold as a factory second. Apparently there were some minor "swirls" in the finish on the back of the guitar this was on (therefore, not noticeable during any performance).

To those who own Les Paul Recordings, because parts are no longer commonly available and because the guitar is aging, it may be appropriate to either have a 1/4-jack added in the same position where current model Les Paul's plug to the amplifier.

This is getting fragile and, on many guitars, is cracking when the cord gets accidentally stuck on something and tugs on the jack.

If you don't want to modify the guitar always run the cord around your strap to assure that any sudden strain on the cable doesn't crack your plastic.

I have a 73 Paul too, serial 730462. Also have the 3rd, 4th and 5th row of literature items you have on your page (including #3, the vinyl lp...not easy to play though....turntable is in storage and guess I'd have to do an :out: of the record player into my PC (cakewalk) to record it...dont know what kind (if any) output jacks the turntable has on it...:)? Scratching my head.....:)

I'll send you some really bad pictures of my les if you like :) Also wondering where that blue book link went to, cant figure out how much this big boy is worth :)

Hello Woody, I just found your website concerning the Les Paul Recording and I wanted to let you know how informative I think it is. I just wanted to say thanks for the info. I’ve had my LPR since 1971. I love the way it feels and plays. You’re the first person I’ve ever seen who loves it as much as I do, besides Les himself. I had the pleasure of seeing him at the Iridium Jazz Club and to my surprise he was playing his black LPR. That was really something to see and hear. Anyhow, I had to let you know how much I enjoyed your page about the LPR. Hope I hear from you sometime and we can exchange our thoughts about other guitars we both love. John M

Hey Woody, just to let you know that my LP Recording N0. 771650 I have had for over 25 years now, I dont play it very often but when I do there are not many guitars that compare to the drive and gutsy sounds or tones that it gives out. Enjoyed your article Regards, Butch

Hi Woody, I've just inherited an old Les Paul Recording - its solid but beat in some areas. Will definitely need a refinish. There's a chance that it may not have any pickups (yikes!) but I've got a line on possible replacements. I stumbled upon your site (which was great) because I don't really know much about these models. I remember my classmate bought one in college. Hmmm, time to dig out the yearbook and contact the alumni committee. He still might have it! Do you run yours into an amp? Do you use it with any effects/pedals? What style of music do you play? I've heard these Paul's are quite versatile! Any help, advice, suggestions, etc. would be greatly appreciated. Thanks, Mitch

Hi , I recently acquired a Les Paul recording guitar with the serial no 524724 and I am trying to find out more about it .

It only has two pots , pick up select switch and high/low impedence switch . The pickups are silver and the machine heads are Schaller machine heads . This does not seem to be like any of the guitars I can see on your web site .

Can you give me any info or recommend anyone I can contact about this guitar? It does appear to be original parts but as it is an old guitar it may just be that they are replacement parts from long ago .

Thanks for taking the time to read this. best regards Barrie

My 1965 Fender Bassman & my LPR....serial number # 130752 - "made in USA" all original never anything ever replaced - ever!! - my case has a purple interior.

Hi Woody, I enjoyed your site on les paul recording guitars. I purchased mine in 1978. Here are some pic’s of it I just took. Are you a ham? My call is WA1TSL, (You bet! w0ui - Woody) located in MA. I’ll send a few more in a separate e-mail because of file size constraints. Best regards, Ralph (Ralph's Second Edition LPR is pictured below)

Woody,

I like your page on the Les Paul Recording guitar. Lots of good info. I have a 1974 model & I don’t hear a tonal difference when I switch the tone selector to the # 3 position. On the web site pictures, there is no connection on that pole. Mine is wired the same way. Is there a certain way that the controls on the guitar need to be set to hear that 3^rd tone or are my ears not good enough to discern it?

Thanks Tom L. Bethesda, MD -- Hey readers, any comments we can pass along to Tom about his question? - Woody

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I am not a collector or specialist by any means -- I just believe these guitars are top end units and wanted to share some info about them.

Contact WOODY for questions or comments about this page via email.
All personal comments, pictures copyright 1996-2009 - R. Linwood (4L RANCH)
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Guitarist LES PAUL	Guitarist BUCKY PIZZARELLI	Guitarist FRANK VIGNOLA
Pianist JOHN COLIANNI	Bassist NICKI PARROTT	Guitarist JOHN SEBASTIAN (playing his Heritage guitar)