"In conversation, Paul Reed Smith commented, 'Ted, the horn of the instrument reveals a maple top.' To which Ted allegedly responded, 'Be quiet.' Smith claims that this was to conceal a groundbreaking tonal innovation from Leo Fender."
In a recent reflection on his career, guitar maker Paul Reed Smith shared insights about the legendary figures in the industry, including Leo Fender and Ted McCarty of Gibson. Smith, who is solely focused on establishing his own brand, PRS, in history, emphasised the importance of understanding the success of his predecessors.
According to Smith, the success of Fender and Gibson involved some element of magic. He credited these individuals for making guitars that were fundamental to a new kind of music. One such example is the Les Paul Standard, a model developed by Gibson under the leadership of Ted McCarty.
McCarty, who became the president of Gibson in 1950, played a significant role in the development and marketing of the Les Paul. To appeal to the growing market of professional musicians, McCarty sought to create a guitar with innovative features and a distinctive look. The decision to paint the early Les Paul Standards (1952-1957) all-gold was primarily driven by aesthetics and marketing strategies. The gold finish was intended to convey luxury and high-end quality, aligning with Gibson's aim to position the Les Paul as a premium instrument.
The use of maple tops on some Les Paul models was also significant. The maple top provided a variety of tonal options and, visually, added a striking contrast to the gold finish. To hide the fact that the Goldtops had maple tops, they were painted gold so Les Paul would not know. This combination of materials helped further differentiate the Les Paul from other guitars on the market, enhancing its appeal to professional musicians and collectors.
Leo Fender, another guitar giant, visited Smith's booth and paid his respects to the young, new guitar maker. Smith learned about the reason for the Goldtops' color from his mentor and former Gibson president, Ted McCarty. Despite the Goldtop's maple top being visible inside the horn where the binding goes up, McCarty still told Smith to keep quiet about it.
Smith is not interested in chasing Fender or Gibson's success. Instead, he focuses on cementing PRS in history. He believes that some of the success of Fender and Gibson is due to magic, if one doesn't examine it closely. Smith asserts that these people made guitars that allowed people to do things that they weren't supposed to do.
In conclusion, the stories of Fender, Gibson, and Smith highlight the significant role of innovation, marketing, and craftsmanship in the guitar industry. As Smith continues to shape the future of PRS, his reflections on the past offer valuable insights into the industry's evolution and the enduring impact of these guitar giants.
- Paul Reed Smith emphasized the importance of understanding the success of his predecessors, such as Leo Fender and Ted McCarty of Gibson, in the guitar industry.
- McCarty, who lead Gibson as president, played a significant role in the development and marketing of the Les Paul Standard, a model that has been fundamental to a new kind of music.
- The gold finish on the early Les Paul Standards (1952-1957) was intended to convey luxury and high-end quality, aligning with Gibson's aim to position the Les Paul as a premium instrument.
- The use of maple tops on some Les Paul models provided a variety of tonal options and added a striking visual contrast to the gold finish.
- Smith learned from his mentor, Ted McCarty, that the decision to paint the Les Paul Standards all-gold was driven primarily by aesthetics and marketing strategies, except for the fact that Les Paul was unaware of the maple top hidden beneath the gold finish.
- Smith, not interested in chasing Fender or Gibson's success, is instead focused on cementing PRS in history, arguing that their success in some ways was due to a certain kind of magic – they made guitars that enabled people to do things that weren't supposed to do.
