Gibson Pat Martino

Semi-hollowbody, central beam, body accajou a room on the back and sides, varnish, thick curved table in solid maple or flamed tiger, caramel color original or classic Flamée red / yellow. L5S Amid the form of Les Paul.
Mahogany set neck and ebony fingerboard without markers. Biding white on the neck and body except the gills in f (the band and simply painted black). Head not typical Gibson. Sign pearl inlaid Gibson. Handle relatively small, not too thick and fairly round profile. (For exact measurements, see Gibson on the site!)
22 frets
Very good finish without reaching for perfection, however,
Bone nut. Fixed bridge with separate settings for each string of jumpers.
etc ...
2 microphones classic '57, two volume and tone knobs. Nothing innovative.

UTILIZATION

The comfort of the handle owes much to its narrowness and especially its key enen immaculate.
22 frets and low thickness of the body involved in the easy access to acute.
Small body size and light weight significantly
Not a huge potential for the microphones, but some flexibility

SOUNDS

Gibson classic sound without a huge personality rather than a guitar rock guitar classic jazz finally (no sound woody, airy with a hollowbody). The absence of the split humbuckers did not open access to all styles .*
Amp: Rivera Chubster 40 amends Vintage 30, attenuator.

OVERALL OPINION

Six months of use. I have to change it: it transcends itself with two Seymour Duncan SH2 in mache, SH4 in easel. I find very compelling use of jazz guitar, while the saturated (I have not yet fully tested) seems great. Finally, the split opens up access to the funk!
Suddenly, the violin reveals its full potential including a remarkable sustain.
It is an expensive guitar, I gained for aesthetics, rarity, the name Gibson ... Briefly, in a spirit of collection, also knowing that I really listened to Pat Martino. I am eyeing this guitar for two years, without ever having been able to try it, and it seemed a compromise between my tastes, with a view to luxury and exclusivity (why not ...). Meanwhile, after an Ibanez archtop deaf as a post (FG100), a bland Godin (Solidac), and a Variax 500 very interesting but uncomfortable, I had acquired a PRS Custom 22 soapbar who had literally spellbound, for its versatility with a huge personality (the P90!) and sounds stratabound body builder and subverted by the insidious poison of its microphones. So when I found an opportunity in the U.S., I could not resist but I was not overwhelmed at first. Now that I changed the pickups, it approaches perfection inital dreams. For a price ... Used, acceptable. Purpose my heart belongs to my PRS. Sorry ...