My two main guitars, a 1958 reissue Les Paul and a 1957 (goldtop) reissue. (both of which have recieved many modifications like electronic changes, hardware and plastic changes (to correct materials and color) and I even changed the inlays in both guitars, to use period correct cellulose nitrate, imported from the original Italian manufacturer that was used in the late 50's by Gibson. You can see in both pics on the right how white the inlays were right after installing them, and how they now have taken on an aged patina through UV and die treatments.
Those are so nice. Glad to see a fellow collector knowing their facts. I loved vintage Fenders but for legal reasons, I am a law student, Fender messed with the spacing of the double dots on the 12th fret, so there is no way to make any US reissues accurate to early-Leo Fenders.
However, for a short time, Fender Japan had the specs correct for vintage Fenders, but that too has since passed. One thing Fender Japan and Fender USA had wrong when they did get stuff right was that they put the Fender decal "under" the finish. When Fender did get the decal over the finish as was proper before 1968, they changed a lot of other factors within the guitar to stop fraud.
Gibson, also being smart legally, made the binding ever so slightly the wrong dimensions to keep collectors safe from frauds. One person I bought from had a Les Paul with the correct 1950s serial number, but I know Gibson unfortunately recycled some serial numbers. What gave away the real date of the Les Paul, from the '70s as a reissue, besides the date on the volume and tone pots, was the slightly thicker dimensions of the body binding.
When I showed the seller this information from several sources, he was truly bummed, but I set him straight. In many cases the best wiring, pickup winding, and overall workmanship, for Gibson, was best done on some reissues as they were able to play at medium to high volumes w/o serious feedback issues. The older models may have not had the correct wax dipping of coils to avoid this problem. While real vintage Gibsons sounded great clean at low volumes, they became microphonic at medium and high volumes and downright nasty, in a bad way, through a 50-100 watt Marshall at the louder volumes.
Sometimes the ultra thick, unplayable old Gibson necks are paired, more often than not, with the best tigerstripe maple tops found on early Les Paul Standards.