Strat-killer Becomes Rock Staple: The Complete History of the Gibson SG

Flexible, inspiring and flat out iconic, the SG started out as a quick counter to Fender’s commercial success with the Stratocaster.

The Les Paul it succeeded, as well as perhaps a less well-known model named the “Double 12,” which subsequently evolved into the EDS-1275, are all predecessors of the Gibson SG. Gibson started manufacturing a double-neck semi-hollow guitar in late 1957, at the same time that they were experimenting with ground-breaking new concepts like the Explorer and Flying V. (albeit in very limited numbers through custom order). The first Gibson with double Florentine cutaways was this one. Basically any cutaway whose horn ends sharply is a Florentine cutaway. Long before 1957, this fashion was in use, but rarely as a double cutaway. The end result was a shape that is comparable to, but not exactly the same as, the revised Les Paul in 1961 (the main distinction is that the horns on the SG are offset). It’s impossible to say with certainty whether or not this directly affected the shape of the SG, but it’s possible.

The conflict between Gibson and Fender is also where the SG got its start. According to Ted McCarty, an engineer and former president of Gibson, “Fender was talking about how Gibson was a bunch of old fuddie-duddies, and when I got that via the grapevine, I was a little irked. Let’s shake ‘em up, I said. I wanted to create some unique guitar shapes that stood out from the competition. The 1957 Explorer, Flying V, and Moderne were the results of this. The designs shocked the guitar industry upon their debut at NAMM, which helped them achieve their goal. Due to their widespread perception as novelty items, they proved to be incredibly challenging to actually sell during manufacture. They did, in fact, prove to be well ahead of their time as iconic designs. To make matters worse, the Les Paul’s sales were unimpressive and the Fender Stratocaster was monopolizing the electric solidbody guitar market in the wake of the Explorer and Flying V’s lackluster reception.

As a result, starting in 1960, Ted McCarty and Larry Allers led the Gibson team of engineers and designers in redesigning the Les Paul. Larry Allers is thought to have had the most influence on the design of the SG, while no one person has been wholly credited with the design. Based on the outcome, it is obvious that this was a completely new design rather than merely a modification of the original Les Paul. The offset double cutaway form, the slimmer and lighter body, the contoured/beveled edges, and the inclusion of a tremolo system are all influenced by the Stratocaster. The early Les Paul Special and Junior, with their double cutaway design, high fret access, slimmer body, and Cherry finish, also had an influence. In reality, Gibson’s 1960 catalog lists those two models as the first to use the “SG” moniker as an ordering code (meaning “Solid Guitar”). Once Les Paul’s backing of the new design ended, this became the de facto name for it.

Tenon.JPG 62

The Les Paul’s body thickness was 2 3/8”, whereas the SG’s body thickness is 1 3/8". Additionally, it was now thinner than the Stratocaster and Les Paul Special. The fret access was another significant alteration; although the Les Paul’s neck is set in at the 16/17th fret, the SG’s neck is set in at the 22nd fret, the last fret on the neck. Although there is a prevalent idea that neck breaks frequently occur on SGs and that this makes the neck joint less strong, this is frequently based on conjecture and stories. The tenon on an SG spans the whole width of the neck and extends roughly as deep into the body as the neck of a Les Paul, as shown in the image to the right. Additionally, a little overhanging lip from the body was added to support the neck in the middle of 1961. This may seem unimportant due to how thin the lip is, but it’s actually pretty ingenious because glue, not wood, is what makes a bond sturdy. Therefore, you gain a lot of extra strength from the relatively huge surface area of adhesive for what little is added in mass. Nevertheless, Gibson would repeatedly alter the heel over the decade in an effort to strengthen the joint, whether as a result of actual problems or merely changing public perception.

In late 1960, the first SG/Les Pauls were constructed. In reality, there is a large overlap in the serial numbers, suggesting that some of the first SG/Les Pauls were probably produced alongside older sunburst Les Pauls.

The pickups on an SG are situated closer to the bridge than they are on a Les Paul, which contributes significantly, if not fully, to the brighter tone of the SG. This could have been an intentional move to counter the Stratocaster’s louder tone, which in a live setting cuts through the mix better.

Their efforts soon paid off as Gibson shipped 2,175 SG/Les Paul Standards and Customs in 1961 alone, despite only selling about 1,700 Les Pauls between 1958 and 1960.

Les Paul’s name was removed from the guitar in 1963, and it was given the modern “SG” moniker instead. This stemmed from the model’s informal internal name, “Solid Guitar,” given by Gibson. There are numerous theories circulating around as to why this occurred. Many of Les Paul’s claims are questionable because he has provided inconsistent stories over the years and is infamous for embellishing. The most likely explanation is that Les let the contract expire and did not renew it until the divorce was officially finalized in 1968 because he and his wife were going through a divorce at the time and he wanted to divest his name of as much equity as possible.

Since that time, the SG has continued to be produced without interruption.