BODY
Body Style: Les Paul
Top Species: Maple
Back Species: Solid Mahogany
Binding: Single-ply Cream
FINGERBOARD
Fingerboard Species: Rosewood
Scale Length: 24 3/4"
Number of Frets: 22
Inlays: Acrylic Trapezoid
Fingerboard Binding: Single-Ply Cream
ELECTRONICS
Neck Pickup: Seymour Duncan™ Alnico Pro-II humbucker
Bridge Pickup: Seymour Duncan™ Alnico Pro-II humbucker
Controls: 2 volume, 2 tone, 3-way selector switch
NECK
Species: 1 Piece Mahogany with short neck tenon
Profile: “Slash-Profile™”
Peghead Pitch: 17°
Nut: Corian
Nut Width: 1 11/16"
HARDWARE
Plating Finish: Nickel
Tailpiece: Tone Pros - light stop-bar tailpiece
Bridge: Tone Pros - Nashville TOM
Knobs: Amber tophats
Tuners: Schaller vintage tulips
Strap Buttons: NKL Schaller strap locks
OTHER
Strings: Vintage .010
Collateral: Custom Care Kit & Certificate of Authenticity signed by Slash
In 1987, Slash bought two standard "factory second" heritage cherry sunburst plaintop (3-piece-top).
1987 Standard No.1 #81757532
1987 Standard No.2 #81607535
One of these will be his main live guitar, the #81757532 recognizable by a cigarette burn on the top appeared during 1995. Once the AFD was released and band went on the tour to promote the album, Slash needed a couple of more guitars to use as a backup for his beloved replicas. He got two nearly identical Les Paul Standard models from Gibson, only difference being the darkness of the finish, and moded both guitars to sound as close as possible to his favorite Les Paul. This included installing the Alnico II Pro humbuckers, repainting one of them, and of course – removing the pickguard. Both of the guitars were factory seconds, meaning they had small flaws that prevent retail stores from buying them.
He used them as his main stage guitars for the latter part of the 2 year long tour, and after he decided it is smarter to keep the the replicas safe at his house, since they were precious to him. One of the guitars went through some rough times, having it’s neck broken and put back together, and display lots of wear and even some cigar burns on it’s body, but Slash still has it and plays it very often.
The guitar features a mahogany body and 3-piece maple top with a mahogany neck and rosewood fingerboard. Over the course of a few refrets by luthier Sammy Sanchez, the fingerboard radius (which probably began at 12") has flattened slightly to 14" at the nut, rounding to 12" at the end of the neck. The high Dunlop 6105 frets (measuring .055" tall by .090" wide) make for easy string bending. The string height at the nut is kept very low [about 1/64" (0.03 mm)] above the first fret. The low nut height makes for easier playing and helps the guitar play in tune by lessening the distance the string must stretch to get to the fret.
Slash's longtime tech Adam Day pays special attention to keep the nut slots polished and lubed with tri-Flow. Even with tuning down a half-step and using Ernie Ball .011-.048 strings, breakage can still be a problem. To combat this, Day raised the tailpiece 1/4" (0.6 mm) off the body, which lowers the string tension over the bridge and helps to minimize breakage. He also polishes the saddles regularly. Slash favors Seymour Duncan Alnico II Pro pickups in his Les Pauls. The neck pickup is kept low at 7/32" (0.5 mm) from the strings, and the bridge pickup is at 1/8"(0.3 mm). The neck is very straight, and the strings sit at a low and even 1/16" (0.1,5 mm) above the 12th fret. The tuning machines have been swapped out for newer vintage-style Gibsons (with a screw-in top ferrule, not the press-in type), and the bridge has been changed to a Gibson Nashville Tune-o-matic. The guitar's neck has been broken in three different places: twice at the peghead and once where it joins the body. In spite of this--and the fact that this Patti is a factory second--it still remains a fantastic sounding and playing guitar.
Slash: "The main guitar I play live is one of two Les Paul Standards I bought in 1987, just after Guns N’ Roses was signed. This one has always been my main stage guitar. It just sounds good and feels right to me. It’s been broken and put b...ack together, and I’m still playing it. The other ’87 Les Paul was stolen when my house was robbed. I lost a lot of stuff – mostly all practice guitars – but losing that one really hurt. I got back my Guild signature model doubleneck and Alvarez Flamenco guitars, but that’s it. It totally sucks when something like that happens! I took it as an omen and it was a major reality check. I realize I don’t need a lot of stuff, so I’ve cut it down, and I keep my guitar close by."
Adam Day: "He's had them since he got his Gibson deal in '87. Both guitars were factory seconds, meaning that there was either a finish flaw or that the grain wasn't good enough to actually warrant a sunburst finish. They're great sounding guitars, he's never gotten two that sounded better from Gibson. Both have been refinished because he wanted a more subdued, more aging looking sunburst, and some of the new les paul standard use a really bright red and have kind of an extreme transition between the colors."
Gibson Custom Slash Inspired By Les Paul Standard VOS (from www.gibson.com/Slash)
Gibson Custom Shop’s Inspired By Slash Les Paul Standard restores Slash’s No. 1 guitar—one of two Les Pauls he received from Gibson in 1988—to the way it was just before he used it to make musical history. “This is the replica of the original 1988 Les Paul I had before I beat the hell out of it,” Slash says. “It’s sort of a trip for me to see it because it looks actually like the guitar after I had it refinished in 1988. This is what it looked like when it was brand new.” Slash’s beloved Les Paul made its debut on the lengthy tour to support Guns N’ Roses’ seminal first album Appetite for Destruction. The two-year tour began in clubs and small theaters and ended in stadiums, and at every stop Slash used his Les Paul to redefine the role of guitar hero and reintroduce hard rock to its raw and rebellious roots. With a pair of Seymour Duncan Alnico II Pro pickups and the gentle aging of Gibson Custom’s Vintage Original Spec series, one of the most legendary guitars of all time has been restored to its original glory, complete with a Heritage Cherry Sunburst finish, faded to perfection. Crafted of the finest woods, the guitar is made of a carved maple top, one-piece mahogany back, and rosewood fingerboard. Each Inspired By Slash comes with a Gibson Custom Shop case and Certificate of Authenticity.
Finishes
Heritage Burst
The Gibson Logo
Some of the greatest guitars in the world have carried the name Gibson, and the Gibson Custom Inspired By Slash Les Paul Standard VOS is the latest to join the ranks of the elite. The classic, hand-cut mother of pearl Gibson logo is inlayed into a pressed fiber-head veneer and then glued to the face of the mahogany headstock before it is painted with a thin coat of lacquer. Some of the greatest guitars in the world have carried the name Gibson, and the Gibson Custom Inspired By Slash Les Paul Standard VOS is the latest to join the ranks of the elite. The classic, hand-cut mother of pearl Gibson logo is inlayed into a pressed fiber-head veneer and then glued to the face of the mahogany headstock before it is painted with a thin coat of lacquer.
22-Fret Rosewood Fingerboard
The rosewood used by Gibson is personally inspected and qualified before it enters the factories. Rosewood is known for its denseness and resiliency, which makes fingerboards extremely balanced and stable and gives each chord and note unparalleled clarity and bite. The 12-inch radius of the fingerboard allows notes to be bent smoothly, eliminating any “dead” or “choked out” notes, which can occur on fingerboards with lesser radiuses. The rosewood used by Gibson is personally inspected and qualified before it enters the factories. Rosewood is known for its denseness and resiliency, which makes fingerboards extremely balanced and stable and gives each chord and note unparalleled clarity and bite. The 12-inch radius of the fingerboard allows notes to be bent smoothly, eliminating any “dead” or “choked out” notes, which can occur on fingerboards with lesser radiuses.
Solid Mahogany Body with Plain Maple Top
A solid mahogany back topped by a plain maple cap has long distinguished Gibson Les Pauls. The Inspired By Slash Les Paul Standard VOS is constructed of that same winning combination—solid mahogany body and plain maple top. Each piece of wood is inspected and qualified by a team of skilled wood experts. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees, which guarantees all woods are dried to a level of “equilibrium” where the moisture content does not change during the manufacturing process. This ensures tight-fitting joints and no expansion, and controls the shrinkage and warping of the woods, in addition to reducing weight. It also helps improve the woods’ machinability and finishing properties and adherence to glue. Consistent moisture content means that every guitar will respond evenly to temperature and humidity changes long after it leaves the factory. A solid mahogany back topped by a plain maple cap has long distinguished Gibson Les Pauls. The Inspired By Slash Les Paul Standard VOS is constructed of that same winning combination—solid mahogany body and plain maple top. Each piece of wood is inspected and qualified by a team of skilled wood experts. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees, which guarantees all woods are dried to a level of “equilibrium” where the moisture content does not change during the manufacturing process. This ensures tight-fitting joints and no expansion, and controls the shrinkage and warping of the woods, in addition to reducing weight. It also helps improve the woods’ machinability and finishing properties and adherence to glue. Consistent moisture content means that every guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Nickel and Silver Alloy Fret Wire
A blend of nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) is molded by hand into Gibson’s traditional “medium/jumbo” fret size and cut to an exact 12-inch radius. The fret wire is then hand-pressed into the fingerboard before a machine finishes the job to eliminate any gap between the bottom of the fret wire and the fingerboard. This time-tested process ensures long life and superior wear from each fret on every Gibson guitar. A blend of nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) is molded by hand into Gibson’s traditional “medium/jumbo” fret size and cut to an exact 12-inch radius. The fret wire is then hand-pressed into the fingerboard before a machine finishes the job to eliminate any gap between the bottom of the fret wire and the fingerboard. This time-tested process ensures long life and superior wear from each fret on every Gibson guitar.
Angled Headstock
The angled headstock on the Gibson Custom Inspired By Slash Les Paul Standard VOS is carved out of the same piece of mahogany as the neck at a 17-degree angle, keeping enough pressure on the strings to help them stay in the nut slots and ensure unequaled sustain and no loss of string vibration. The angled headstock on the Gibson Custom Inspired By Slash Les Paul Standard VOS is carved out of the same piece of mahogany as the neck at a 17-degree angle, keeping enough pressure on the strings to help them stay in the nut slots and ensure unequaled sustain and no loss of string vibration.
Classic Trapezoid Inlays
Many of the iconic Les Paul Standards are distinguished by Gibson’s traditional trapezoid inlay. A figured, swirl acrylic gives these inlays that “classic” pearl look. Once cut, they are inserted into the fingerboard using a process that gets rid of gaps, thus eliminating any need to use fillers.Many of the iconic Les Paul Standards are distinguished by Gibson’s traditional trapezoid inlay. A figured, swirl acrylic gives these inlays that “classic” pearl look. Once cut, they are inserted into the fingerboard using a process that gets rid of gaps, thus eliminating any need to use fillers.
VOS Heritage Cherry Sunburst Finish
Slash’ original Les Paul Standard came with a Heritage Cherry Sunburst finish, which he faded to its current light, almost natural, wood color. On the Inspired By Slash Les Paul Standard, Gibson Custom was able to replicate the finish almost to perfection. The final touch is the application of Gibson Custom’s proprietary Vintage Original Spec finish, which yields the gently aged patina of a vintage classic from a new guitar. The result is a stunning finish that correctly mirrors the subtle color and tint of Slash’s original Les Paul. Slash’ original Les Paul Standard came with a Heritage Cherry Sunburst finish, which he faded to its current light, almost natural, wood color. On the Inspired By Slash Les Paul Standard, Gibson Custom was able to replicate the finish almost to perfection. The final touch is the application of Gibson Custom’s proprietary Vintage Original Spec finish, which yields the gently aged patina of a vintage classic from a new guitar. The result is a stunning finish that correctly mirrors the subtle color and tint of Slash’s original Les Paul.
Slash-designed Neck Profile
The master luthiers at Gibson Custom were given the opportunity to measure and examine the neck on Slash’s original Les Paul. The result is the neck profile on the new Gibson Custom Inspired By Slash Les Paul Standard VOS, which is a cross between Gibson’s famed rounded profile of the late ’50s, and the slim-taper profile of the early ’60s, producing a thin, smooth curved shape not available on any other Les Paul. Like all Gibson guitars, these necks are machined in a rough mill using wood shapers to make the initial cuts. Once the fingerboards are glued on, the rest of the construction—including the final sanding—is done by hand, ensuring every neck will have its own distinct, but traditional, feel.The master luthiers at Gibson Custom were given the opportunity to measure and examine the neck on Slash’s original Les Paul. The result is the neck profile on the new Gibson Custom Inspired By Slash Les Paul Standard VOS, which is a cross between Gibson’s famed rounded profile of the late ’50s, and the slim-taper profile of the early ’60s, producing a thin, smooth curved shape not available on any other Les Paul. Like all Gibson guitars, these necks are machined in a rough mill using wood shapers to make the initial cuts. Once the fingerboards are glued on, the rest of the construction—including the final sanding—is done by hand, ensuring every neck will have its own distinct, but traditional, feel.
Seymour Duncan Alnico II Pro Pickups
The pickups in the Gibson Custom Inspired By Slash Les Paul Standard VOS—a pair of Seymour Duncan Alnico II Pro pickups—are identical to the ones in Slash’s original Les Paul. “I always have Seymour Duncan Alnico IIs in all my Les Pauls,” Slash says. “They’re just great pickups. They’re actually low-output pickups so they’re a little bit cleaner than your average humbucker. They handle gain very well, and they don’t over distort. They don’t try and add any phony dynamics that I don’t need. They’re as natural sounding as I can get.” The Alnico II magnets on these Seymour Duncan pickups yield a warm, sweet tone with more natural string vibration for increased sustain. Since Slash gets most of his distortion from the amp rather than the pickup, these pickups allow him to back off the crunch and achieve beautiful, clean tones with a softer attack. The pickups in the Gibson Custom Inspired By Slash Les Paul Standard VOS—a pair of Seymour Duncan Alnico II Pro pickups—are identical to the ones in Slash’s original Les Paul. “I always have Seymour Duncan Alnico IIs in all my Les Pauls,” Slash says. “They’re just great pickups. They’re actually low-output pickups so they’re a little bit cleaner than your average humbucker. They handle gain very well, and they don’t over distort. They don’t try and add any phony dynamics that I don’t need. They’re as natural sounding as I can get.” The Alnico II magnets on these Seymour Duncan pickups yield a warm, sweet tone with more natural string vibration for increased sustain. Since Slash gets most of his distortion from the amp rather than the pickup, these pickups allow him to back off the crunch and achieve beautiful, clean tones with a softer attack.
Set-Neck Construction
All Gibson Les Pauls feature a glued neck joint, guaranteeing solid “wood-to-wood” contact between the neck and the body, leaving no air space in the neck cavity, and allowing the neck and body to function as a single unit. All Gibson Les Pauls feature a glued neck joint, guaranteeing solid “wood-to-wood” contact between the neck and the body, leaving no air space in the neck cavity, and allowing the neck and body to function as a single unit.
Tune-o-matic Bridge and Stopbar Tailpiece
The Tune-o-matic bridge on the Gibson Custom Inspired By Slash Les Paul Standard is TonePros’ Model TP6, which is the locking version of the Nashville Tune-o-matic. It is combined with TonePros’ T1ZSA aluminum featherweight locking “stopbar” tailpiece. Both pieces are exactly as they are on Slash’s original Les Paul. The original Tune-o-matic bridge was the brainchild of legendary Gibson president Ted McCarty in 1954. At the time, it was a true revelation in intonation, and set a standard for simplicity and functionality that has never been bettered. This pioneering piece of hardware provides a firm seating for the strings, allowing the player to adjust and fine-tune the intonation and string height in a matter of minutes. It also yields a great union between the strings and body, which results in excellent tone and sustain. To this day, the Tune-o-matic remains the industry standard. It is the epitome of form and function in electric guitar bridge design, and is one of the most revered and copied pieces of guitar hardware ever developed.The Tune-o-matic bridge on the Gibson Custom Inspired By Slash Les Paul Standard is TonePros’ Model TP6, which is the locking version of the Nashville Tune-o-matic. It is combined with TonePros’ T1ZSA aluminum featherweight locking “stopbar” tailpiece. Both pieces are exactly as they are on Slash’s original Les Paul. The original Tune-o-matic bridge was the brainchild of legendary Gibson president Ted McCarty in 1954. At the time, it was a true revelation in intonation, and set a standard for simplicity and functionality that has never been bettered. This pioneering piece of hardware provides a firm seating for the strings, allowing the player to adjust and fine-tune the intonation and string height in a matter of minutes. It also yields a great union between the strings and body, which results in excellent tone and sustain. To this day, the Tune-o-matic remains the industry standard. It is the epitome of form and function in electric guitar bridge design, and is one of the most revered and copied pieces of guitar hardware ever developed.
Adjustable Truss Rod
The introduction of the adjustable truss rod by Gibson in the early 1930s revolutionized the guitar-making process. Before this breakthrough, the truss rod was used mainly to strengthen and stabilize the neck. By making it adjustable, the guitar became able to accommodate a variety of string gauges and set-up options, and facilitate any style of playing. With the nut at the base of the headstock, the truss rod is easily accessible for adjustments without having to take the strings off the guitar. The introduction of the adjustable truss rod by Gibson in the early 1930s revolutionized the guitar-making process. Before this breakthrough, the truss rod was used mainly to strengthen and stabilize the neck. By making it adjustable, the guitar became able to accommodate a variety of string gauges and set-up options, and facilitate any style of playing. With the nut at the base of the headstock, the truss rod is easily accessible for adjustments without having to take the strings off the guitar.
Binding
The binding on a Les Paul Standard, or any other Gibson guitar, is a fundamental part of the company’s rich, guitar-making history. And though some people assume it is applied for aesthetic purposes only, the binding actually protects the body’s edges against damage and eliminates the sharp edges of frets, providing a much smoother neck and easier playability. The process of applying the binding to any Gibson guitar is something that has to be seen to be truly appreciated. A lone craftsman carefully glues and fits two pieces of binding around the body of a Les Paul. A single, very long piece of narrow cloth is wound around the body until the entire surface is nearly covered. The body is then hung to dry for a full 24 hours before it is unwrapped and moved into the next phase of production. It has been done the same way at Gibson for over 100 years.The binding on a Les Paul Standard, or any other Gibson guitar, is a fundamental part of the company’s rich, guitar-making history. And though some people assume it is applied for aesthetic purposes only, the binding actually protects the body’s edges against damage and eliminates the sharp edges of frets, providing a much smoother neck and easier playability. The process of applying the binding to any Gibson guitar is something that has to be seen to be truly appreciated. A lone craftsman carefully glues and fits two pieces of binding around the body of a Les Paul. A single, very long piece of narrow cloth is wound around the body until the entire surface is nearly covered. The body is then hung to dry for a full 24 hours before it is unwrapped and moved into the next phase of production. It has been done the same way at Gibson for over 100 years.
