This guitar has a laminated hand-carved '59 profile neck made of flamed maple with an ebony fretboard.  The inlay in the back (my signature inlay) was from a 1925 Lloyd Loar mandolin veneer they had found in the parts department.  The peghead top veneer is the "The Gibson" taken from the same veneer.  The nut is again, solid pearl (great tone!).  The body binding is the thin variety in the cutaway.  Gibson had stopped doing the thin cutaway binding after 1960 on Les Pauls.  The reissues, which began in October of 1967, referred to as the '68 reissues, all had fat cutaway binding.

The body was solid one piece mahogany.  The electronics has a nice story to it.  At the time I visited Gibson for the 1st time, I met Bill Lawrence, who was developing the L-6 with the 6 way wiring (1 = both pickups in series in phase, 2 = front pickup only, 3 = both pickups in parallel in phase, 4 = both pickups in parallel out of phase, 5 = lead pickup only, and 6 = both pickups in series out of phase.)  He gave me a prototype 6-way selector, which looks like a varitone dial.  This is what I had placed into the upper horn where the toggle switch normally goes.  Gary Ohmauger, Gibson's wiring chief, wired up the guitar as follows for me: master volume, master tone, master bass rolloff, and a varitone selector in the last dial hole where the lead tone control goes.  Gary also wired up the pickups to my specs which were hot, but clean and balanced PAF types and used plain pickup covers with no screw holes as I directed.  These pickups did not need balance screws.  The cavity was painted in hum reducing paint.

The guitar otherwise was an exact replica of a '59 Les Paul, built by the master builder at the time in Kalamazoo, Lee Montgomery, who happened to work on the line when the original Les Pauls were being built.  His wife, Brenda was in charge of the parts department, so they would let me rummage through it to find anything I wanted.  The truss rod cover is an original 1959 type.