Goldenrod electric guitar by 8Bomb Custom
Over more than a decade of in-depth and detailed study of the 1959 Les Paul phenomenon, I have identified several very important design nuances that, together, create a unique, legendary tone and transform the guitar into a true musical instrument that you never want to stop playing or let go of. A multitude of small details—such as the type of glue, the scale length, the shape of the truss rod channel, the angles, and the placement of parts—each individually has a very minor effect on the sound, but when all these nuances come together, complementing and supporting one another, they create a truly unique sonic experience.
What is it about the Goldenrod that sets this model apart from the rest?
Let’s take it step by step.
First and foremost, the Goldenrod is a musical instrument.
The Goldenrod model was designed based on an absolute legend of guitar sound—the Holy Grail 1959 Burst. Although we’ve slightly modified some exterior details, the internal construction exactly matches the original ’59 reference model. It is precisely this correct construction that allows the wood’s resonance to be channeled in the right direction.
We’ve preserved every nuance of the authentic construction, even those very mill marks from the tone cavity milling that remain from the old 1950s production process—and are the first thing that connoisseurs of ’59 Les Pauls notice.
We use the vintage scale length from the 1950s, but calculate it more precisely to minimize the margin of error in the “Rule of 18.”
We have also preserved the authentic 1950s neck-in-neck joint, which, incidentally, differs from modern factory versions and offers superior transmission of vibrational resonance into the body. The neck also features a straight single truss rod in a perfectly straight channel—exactly as they did in the 1950s. This prevents the neck from being over-tensioned and results in a more open and natural resonance.
A special mention must be made of the wood, since it is the very foundation of sound. Although we used the finest grades of musical wood, such as old maple, light mahogany, and the forbidden chocolate rosewood with its scent of bourbon vanilla from the land of carnivals and birds, Nevertheless, the magic lies not in the wood species but in the preparation. First and foremost, we select wooden blanks that complement each other in terms of tonal characteristics to achieve the most balanced collective resonance within the instrument’s structure. This is very important because a guitar consists of two main parts—the body and the neck—and they must resonate together in precise harmony.
After selecting the blanks, the artificial aging process begins. You can read about the core technology in detail in this research paper, but I’ll briefly describe our process here.
After the blanks have been selected, the artificial aging process begins. You can read about the core technology in detail in this scientific paper, but I’ll briefly describe our process.
The wood aging process is necessary to alter and modify the structure and properties of the wood fibers in order to maximize the resonance properties and stabilize internal stresses. The first phase of the process involves 16 hours of slow exposure to precise temperature conditions with steam. During this phase, the cellulose fibers inside the wood change their properties, while the resins and sugars polymerize, stabilizing the wood. When exposed to moderate temperatures, the wood retains its elasticity but loses weight. The second resting phase lasts about 4 months under controlled humidity and close supervision. We then perform another test to ensure the blanks are tonally matched to one another. Only after this do we proceed with the musical instrument manufacturing process.
An important detail is the glue. We use highly purified collagen hide glue. I have tested it many times through my own experience and am convinced that the glue plays a very significant role in shaping the guitar’s vibrational characteristics. Only authentic animal glue is capable of working harmoniously with the wood in resonance, since it does not create an intermediate layer between the glued pieces; two pieces of wood glued with hide glue function as a single, solid piece. Only hide glue can expand and contract along with the wood as humidity changes, harmoniously distributing stress and not interfering with the passage of resonance waves through the material.
Bridge and tailpiece.
These parts are always the first to catch the eye and must not only look correct and authentic but also sound excellent. That is why I use St. Helens parts by Gerhard Schwartz. Based on my many years of experience searching for and testing all possible replicas of these parts, I can confidently say that this is the best option. In-depth research into authentic materials, the correct alloys, precise geometry and machining, a 100% authentic appearance, and stunning sound characteristics. You simply can’t find anything better. That’s a fact. That’s why I didn’t consider any other options for the Goldenrod. However, when installing this system, I took the liberty of deviating from the traditional angle of the tailpiece and positioning it parallel to the bridge, since this arrangement distributes the pressure from the strings more evenly and is slightly more effective at transmitting the vibrational impulse from the strings to the wood.
Electronics.
For 10 years now, I’ve been using only the best components in my projects—ones that meet the requirements of authentic designs. VIPots 550K or Centralab potentiometers, vintage military capacitors, and 1950s-style wiring—all of this produces a bright, open sound with the ability to adjust gain and clarity right on the guitar using the volume and tone knobs.
The materials used for the parts are crucial for the guitar’s appearance, which is why I select materials that are true to the 1950s era and possess the necessary characteristics: color, opacity, and pattern. Roylite binding; M69 humbucker rings made of butyrate acetate. The right plastic creates the right character. This is a very important detail.
Varnish and relicing.
As you all know, this is what I love most of all.
I use only nitrocellulose lacquer, the hardness of which I control myself for different tasks. At the same time, each guitar—in addition to its shape—takes on my vision of color and a subtle aged look. That’s why, besides being a musical instrument, Goldenrod is also a work of art.
For Goldenrod, I chose my new pickup model - Rumble Heart.
These pickups were the result of extensive experimentation and testing as I sought the right anti-phase sound mix for the Burstphonic pedal from our company, OctaKing. These pickups emerged as a byproduct of those experiments and blew me away with their performance. Thanks to a complex winding system, each pickup features a subtle phase-inversion circuit inside. This makes the sound brighter and wider. The resonance peak shifts slightly, creating a foundation for shaping any tonal character when paired with the Burstphonic pedal. It turned out to be the perfect combination. However, when ordering a Goldenrod, the customer can choose any pickup model from my lineup, as well as any finish or color scheme. Since I use exclusively hard nitrocellulose lacquer, all guitars are made with a relic finish, which comes in three levels of intensity: light relic, heavy relic, and portrait of famous guitar .
In conclusion, I can say this: Goldenrod is not just a guitar. It is both a musical instrument and an art object, crafted by human hands—not on an assembly line—with the utmost attention not only to every visible and internal detail, but also with a scientific and historical approach to sound design, based on the classical expertise of the finest luthiers. Every tiny detail plays its own important role in this orchestra, transforming pieces of wood and metal into a multifaceted object that, while a piece of art in its own right, is also an instrument for creating art. This is truly a marvelous superpower.
