ilyti wrote:dbone wrote:Wow just goes to show you that the description of stunning does not require the word “figured” in it.
Totally agreed. I could even make a case for plain tops being prettier than figured ones on certain types of guitars, the CS/LP style being one. With the plain top, I find myself admiring the shape, the carved figure of the top, and the whole picture more than with the flame. Same logic as "pretty girls don't need makeup".
Great find, man!
THIS THIS THIS THIS.
I've been saying that about Les Pauls forever: when people specifically pick out ones with flame beyond a certain point, it tends to distract from the graceful lines and sweep of it's classic, perfectly proportioned curves. On the CS6, I find that the ones that work the best with heavy flame are the ones with modern burst schemes and paint colors, perfect example would be Doug's army green burst. It looks so modern that it works.
One thing you have to give the Lester: it may not offer the best upper fret access, (for multiple reasons ie neck joint "step" and cutaway) but for that single cut shape, it's pretty much perfect.
There have been attempts to improve on the shape, and they fall into two categories... Attempts at cosmetic improvement, and attempts at ergonomic improvement. The latter isn't hard at all, since as mentioned the cutaway, the neck joint, the headstock break angle, etc, don't make the most Worry Free player's axe. But, and I guess this is only my opinion, but it's one I hear repeated aLOT, it's pretty much impossible to improve on the look for this specific style. People play with the cutaway, the waist/hips, headstock, etc, but the original reigns supreme imho. Just can't be topped. Honorable mentions go to Mark Kiesel for the CS for his refinements, which are ergonomic first, and cosmetic in service to the improvements... Also the original late 70's-80's CM130-40, which refined the body shape of the older CM's that preceded and created (along w the 150) the original "Axecess" neck joint. No surprise that I like what Hagstrom did with the shapes of both the Swede and the vintage Super Swede, which had a wider cutaway than the Swede, for better upper neck access than both the standard Swede and a LP. Something about those old Guild Bluesbirds, as well. I dig those.
Occasionally you'll see an original 58-60 burst with AAA+ flame, fat high contrast chevrons, etc, and those are tough to argue with because of what they are.. but those are very rare, and those that do have flame tend to have flame that is not the overriding thing to be seen. They blend in to create the whole piece, the teardrop burst, the curves, binding, etc, to create a beautiful sum of it's parts. Perfect example being Ronnie Montrose's 1958
Or Kossoffs legendary axe:
Or probably the most famous and valuable of them all, Greenie: