The New Campellone Standard Nick build

[Hammertone]

It was years before I realized that Gibson generally didn't use quartersawn back plates for their 17" and 18" carved backplates. Mark's observations above make sense - Gibson was a volume producer and a business. As well, the backs on these instruments have fared remarkably well over time, suggesting that they used very well-seasoned wood.

It makes me wonder why they did go to quartersawn back plates, which started in the '70s - perhaps the well-seasoned wood was no longer available, or too expensive. Or perhaps they were having some issues with the wood, which would result in costly warranty claims. Or the change in ownership resulted in some changes in wood supply lines. IDK.

The plain/silky stuff from the Norlin years is quartersawn, and really nicely done. My guess is that it's Acer Saccharum (eastern hard maple), and that it was replaced with the figured, quartersawn Acer Macrophyllum (western Big Leaf Maple), that Gibson has been using since then, in order to make the guitars look fancier.

[floatingpickup]

Sorry if the thread is drifting, but it is very interesting to learn about maple backs while we wait for the next pictures of Nick’s Campellone. I attached a picture of the back of my ‘53 L5. I always assumed it was quarter sawn and book matched. Is that not correct?
Keith

[wintermoon]

Not quartered Keith.
Almost all the carved Gibson backs before the late 70s were flat sawn.
The same applies for archtops by other makers as well until D'Angelico started using quartered maple in the 60s.

[floatingpickup]

Not quartered Keith.
Almost all the carved Gibson backs before the late 70s were flat sawn.
The same applies for archtops by other makers as well until D'Angelico started using quartered maple in the 60s.

Interesting to know. Just to get us back on track , talking about Campellones, here are the backs of mine (sadly the blonde one is gone)
Keith

[floatingpickup]

And here is another Campellone Special that I tried to buy, but I procrastinated for one day and someone else beat me to it.
Keith

[Hammertone]

Not quartered Keith. Almost all the carved Gibson backs before the late 70s were flat sawn. The same applies for archtops by other makers as well until D'Angelico started using quartered maple in the 60s.

The same does not apply for carved-back archtops made by European makers, who typically used quartersawn and bookmatched back plates.

[cmajor9]

The same does not apply for carved-back archtops made by European makers, who typically used quartersawn and bookmatched back plates.

Nice Roger back!

[2bornot2bop]

Interesting to know. Just to get us back on track , talking about Campellones, here are the backs of mine (sadly the blonde one is gone)
Keith

the back on that sunburst is so beautiful it should be considered illegal!

[lawson-stone]

I never imagined that if I owned an L5 that something could make me feel like I really didn't own guitar royalty... these Campellone threads are really stirring me up in the wrongest kind of way!

[vinnyv1k]

[Hammertone]

I never imagined that if I owned an L5 that something could make me feel like I really didn't own guitar royalty... these Campellone threads are really stirring me up in the wrongest kind of way!

Carpe diem, dood. You can have Mark make you a nice Deluxe for a mere $6,750, or just buy this one, less than a year old, for $5,800:
Campellone Deluxe (mounted pickup)

[vinnyv1k]

Body complete

[Nick71]

[QUOTE=vinnyv1k;1051106]Body complete [/QUOTE

Vinny,
Thank You Kindly, for keeping up appearances with this beauty!!

back on track
Nick71

[MCampellone]

It was years before I realized that Gibson generally didn't use quartersawn back plates for their 17" and 18" carved backplates. Mark's observations above make sense - Gibson was a volume producer and a business. As well, the backs on these instruments have fared remarkably well over time, suggesting that they used very well-seasoned wood.

It makes me wonder why they did go to quartersawn back plates, which started in the '70s - perhaps the well-seasoned wood was no longer available, or too expensive. Or perhaps they were having some issues with the wood, which would result in costly warranty claims. Or the change in ownership resulted in some changes in wood supply lines. IDK.

The plain/silky stuff from the Norlin years is quartersawn, and really nicely done. My guess is that it's Acer Saccharum (eastern hard maple), and that it was replaced with the figured, quartersawn Acer Macrophyllum (western Big Leaf Maple), that Gibson has been using since then, in order to make the guitars look fancier.

Hammer - I've often wondered, too, why Gibson used that plain quarter-sawn maple during the Norlin era (and I agree - looks like eastern hard maple). Since quarter-sawn lumber is generally more expensive than flat-sawn (due to less yield and more waste from each log), I tend to doubt it was a cost saving measure. Maybe the greater stability of quarter-sawn stock (less likely to cup or twist during drying) eliminated some production problems they had using flat-sawn stock.

[MCampellone]

Thanks Vinny cool ..
When you get a chance can you ask Mark what kind of maple he used on the back n rims. Last time I spoke to Mark about a couple of specs he did mentioned it but my recall has failed me. The back n rims seem to match and I like that with this wood. It kind of flows throughout and then it hits the spruce top "BAM" and then quiets down. Sweet..
Nick

And getting back to Nick's guitar - the maple back has a combination of curl and blister figure, like many older Gibsons - not really visible in the pics at this point, but it should show up better with the finish application. The back is medium grade stock, so the figure is subtle - the rims are fancier, with fairly heavy blister figure.

Interestingly, while Gibson used LOTS of blister maple in the past, nowadays it's REALLY hard to come by.

[MCampellone]

More slip-matched blistered Acer Saccharum (sugar maple / hard maple / rock maple / eastern maple - all the same thing), from '48 and '37:

A couple of examples of 'super blister' older Gibsons -

[Hammertone]

Did some say blister?

[Hammertone]

Hammer - I've often wondered, too, why Gibson used that plain quarter-sawn maple during the Norlin era (and I agree - looks like eastern hard maple). Since quarter-sawn lumber is generally more expensive than flat-sawn (due to less yield and more waste from each log), I tend to doubt it was a cost saving measure. Maybe the greater stability of quarter-sawn stock (less likely to cup or twist during drying) eliminated some production problems they had using flat-sawn stock.

Given the general stupidity and avarice of the owners of Gibson at the time, I could easily see them cutting corners on how they processed the wood, which may have created a problem that previously had not existed, then changing the wood supply to solve that problem and possibly avoid future warranty claims, then playing some accounting game to justify the higher cost of that wood, then firing some people, then giving themselves big bonuses, and so on... truly a bunch of arrogant pricks. All meaningless and useless speculation on my part, of course, except for the arrogant pricks part. I can only imagine what the experienced Gibson employees thought of these wankers.

But, back to the guitar you are building. Moving on to happy thoughts, I look forward to more photo evidence of its loveliness. Sunburst finish of some sort?

[MCampellone]

Given the general stupidity and avarice of the owners of Gibson at the time, I could easily see them cutting corners on how they processed the wood, which may have created a problem that previously had not existed, then changing the wood supply to solve that problem and possibly avoid future warranty claims, then playing some accounting game to justify the higher cost of that wood, then firing some people, then giving themselves big bonuses, and so on... truly a bunch of arrogant pricks. All meaningless and useless speculation on my part, of course, except for the arrogant pricks part. I can only imagine what the experienced Gibson employees thought of these wankers.

But, back to the guitar you are building. Moving on to happy thoughts, I look forward to more photo evidence of its loveliness. Sunburst finish of some sort?

Well, your Gibson tirade was at least worth a chuckle : )
This 16" non-cut will be getting the antique natural finish - should look nice!

[vinnyv1k]

On to the neck

[QAman]

Beautiful ! Still no dust in sight , just a beautiful oil rubbed work bench acting as a backdrop to upcoming enjoyment.

[Nick71]

On to the neck

You do not see to many rosewood fretboards on Campellone’s in general. This rosewood board, which looks great by the way, with its partnered rosewood bridge will add to its old world feel and sound..

Thank you Vinny and Mark C. for the update.

[2bornot2bop]

That workbench by itself looks like it should be a guitar. It’s beautiful!

[Hammertone]

Well, your Gibson tirade was at least worth a chuckle : )
This 16" non-cut will be getting the antique natural finish - should look nice!

I'm here all week. Enjoy the veal!

[floatingpickup]

Given the general stupidity and avarice of the owners of Gibson at the time, I could easily see them cutting corners on how they processed the wood, which may have created a problem that previously had not existed, then changing the wood supply to solve that problem and possibly avoid future warranty claims, then playing some accounting game to justify the higher cost of that wood, then firing some people, then giving themselves big bonuses, and so on... truly a bunch of arrogant pricks. All meaningless and useless speculation on my part, of course, except for the arrogant pricks part. I can only imagine what the experienced Gibson employees thought of these wankers.

But, back to the guitar you are building. Moving on to happy thoughts, I look forward to more photo evidence of its loveliness. Sunburst finish of some sort?

I think you’re being a little hard on Gibson in the Norlin days. I visited the old plant on Parsons St. a couple of times in the early 1970’s. I toured the plant, played guitars, talked to many employees and bought some OEM parts and accessories. We were treated well and they even allowed my father to buy a one-off noncut L5 that they had built built for a NAMM show. Everyone I met was proud of their work and they were building many beautiful guitars. While there, I spent some time with Bill Lawrence, who was working with Gibson on a prototype, which eventually became the L6S. Obviously, some of their “innovations” didn’t catch on, but I always remind myself what music and the music business was like at the time. I believe Gibson was just trying to satisfy customers’ expectations. No one knew at the time that the vintage craze was coming and everyone would want the old guitars again. I have owned a number of really fine Norlin-era Gibsons and have great memories of my visits to Kalamazoo.
Keith