Hot or Not? Gibson SG Limited Edition Custom

mosiddiqi

mosiddiqi

The Curry Master
Staff member
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Solid mahogany body
Gold hardware
ABR-1 bridge, lightweight aluminum stopbar
1-piece mahogany neck w/long neck tenon
22 fret ebony fingerboard
Pearl block inlays
Single-ply white binding
1960 slim taper neck profile
24 3/4" scale length, 1 11/16" nut width
Holly headstock veneer
Vintage tulip tuners
57 classic humbucking pickups
2 volume, 2 tone, 3-way selector switch
Vintage Reissue .010 strings
 
Not a huge SG fan even though I have one that I do like a lot, but I can appreciate this one.

Not for me, but it'd catch my eye.
 
I like it. Not an SG fan but I like. Takes me waaaayy back as I was a huge SG fan when I was 14. :grin:
 
I'd be seriously worried if I starting thinking about wanting to play a cello.
Once you have to start developing your thigh muscles to hold your instrument,
and get used to plucking hard and bowing between your legs,
you won't want to go back to wimpy little solid-bodies ever again.

For such a traditional S.G. layout, no half-moon plastic with all the knobs,
the color and gold certainly transform it into a modern, very pretty guitar.
A whitish mother of pearl pickguard that accented the fret markers would be classier than just white,
the only change I see here, except for no tremolo.

I've played more S.G.'s onstage as a guest than any other guitar, easy to strap on upside-down.
 
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This lack of interest in an S.G. by serious guitarists surprises me.
Except for '57-58 Les Pauls, S.G.'s were the only solid body to feature large P.A.F. Humbuckers,
and Gibson started calling S.G.'s Les Pauls after '58, when they put three big humbuckers on one of those, usually painted white.
The difference between Les Pauls and S.G.'s back then was staying in tune onstage, barely.
The S.G. neck was so thin, so mahogany, just holding it up flat in front of you became a special effect,
letting the neck sag for detuning, or waving it back and forth fast to make a kind of vibrato.
 
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