Serendipity… With Tim Shaw PAF's
One of Only 211 Produced

1983 Gibson Les Paul Spotlight Special Tobacco Burst Model.

This super-rare Les Paul "Spotlight Special" Antique Sunburst (ASB model) weighs 10.30 lbs. and has a nice fat nut width of 1 11/16 inches and a standard Gibson scale length of 24 3/4 inches. Solid mahogany body with a wonderful two-piece book-matched 'tiger flamed' maple top, separated in the center by a two inch strip of walnut. Three-piece mahogany neck with a wonderful medium thick profile rather akin to a '58 Les Paul. Single-bound rosewood fretboard with 22 jumbo frets and inlaid pearl trapezoid position markers. Ebony-faced headstock with inlaid pearloid "Gibson" logo and decal with "Les Paul Model" in gold, and two-layer black-on-white plastic truss-rod cover secured by two screws. Serial number "83 188" inked in black onto the back of the headstock, with "Made in U.S.A." below it, and "Gibson Custom Shop Edition" decal in gold above the serial number. Individual Kluson-style "Gibson" tuners with double-ring, tulip-shaped keystone buttons. The top of the guitar has a single thick cream binding. Single-layer cream plastic pickguard. Two Tim Shaw reissue PAF  'Zebra' Humbuckers with outputs of 7.15k and 7.23k, each engraved on the underside "Pat No. 2,737,842". Neck pickup stamped in black "3721183" bridge pickup stamped "373883". There is a large "ASB" stamped in black inside the neck pickup cavity and a smaller "3" stamped in black inside the bridge pickup cavity. Four controls (two volume, two tone) plus three-way pickup selector switch on upper bass bout. Gold plastic bell-shape "Bell" knobs. The potentiometers are stamped  "137 8310" and "137 8340" (CTS March and October 1983). Nashville-style Tune-O-Matic bridge with separate stud tailpiece. Gold-plated jack input cover secured by four screws. All hardware gold-plated. The original frets show very little sign of wear and there is no wear to the fretboard. At one time the previous owner had fitted Schaller tuners. These have now been removed and the original Kluson-style tuners have been re-installed. The only evidence of this are six tiny and almost unnoticeable screw-holeson just by the tuners. That being said, this guitar is in exceptionally fine (9.00) condition, with just some very minor belt-buckle rash on the back (nothing through the finish) and a few very minor and insignificant marks or indentations on the top and sides. The binding on the treble and bass sides of the neck shows very slight 'cosmetic' cracking but is perfectly stable. This is a very unusual and beautiful Les Paul. It has a perfect '58 neck profile, a good weight and those wonderful Tim Shaw humbuckers are tonally outstanding. Housed in the original Gibson three-latch 'Protector' black hardshell case with red plush lining (8.75).

The Les Paul Spotlight Special mystery solved by Michael A. Slubowski

It was 1983, and Gibson was in the throes of its darkest days. Norlin Industries, Gibson’s parent company at the time, had incurred excessive debt, sales had fallen 30 percent the year before, and the Gibson name was for sale. By that summer, all of the large runs of Gibson models, including the Les Paul, had been moved to the Nashville factory, and the plant manager in Kalamazoo was informed the plant would close. Amidst the chaos and uncertainty, an idea was borne for a limited run of Les Pauls dubbed the Spotlight Special. Consumer interest in the model was certainly never rampant, but the 1993 release of the Tony Bacon/Paul Day book, The Gibson Les Paul Book, raised eyebrows and the interest of a handful of collectors. Those who set out to buy (or collect) Spotlight Specials soon discovered just how limited their production was, and searching for facts regarding the model often led to erroneous specifications and misinformation.  Granted, the history surrounding the Spotlight is sketchy. Bacon and Paul Day report that Nashville managers concocted the Spotlight Special after spotting leftover walnut and pieces of curly maple. Some collectors believed their Spotlights were produced at Kalamazoo, and refuted the notion that the Spotlight was an assemblage of leftover parts, preferring to believe it was a carefully planned model. Jeff Cease, a former Gibson employee who helped research this article, spoke to an employee who worked at the Nashville plant at the time. The source confirmed that Spotlights were indeed built in the Nashville plant (Gibson USA) and, despite their Custom Shop Edition decal, were not affiliated with the Custom Shop (Gibson's Custom, Art, & Historic division), but were built on the regular production line. The source also said there weren’t many made, and they were most likely built of surplus parts. Walter Carter, former historian for Gibson, notes that Gibson’s records indicate Spotlight Special serial numbers up to 211, so it was indeed a limited edition.

The Spotlight Special is instantly recognizable by the contrasting strip of walnut down the center of the body, with curly maple or quilted maple on both sides of the strip. It has a gold Custom Shop logo on the rear of the headstock, with an inked serial number of 83-XXX, with “XXX” ranging from 001 to 211.

Again, published information is conflicting and inaccurate. The Bacon/Day book describes the headstock veneer as rosewood, when in fact it is mahogany on one model, ebony on the other. In its reference listing, the Bacon/Day book describes only one generic model, there are actually two. The fifth edition of the Blue Book of Electric Guitars incorrectly describes the center strip as mahogany and says it has a raised cream pickguard (Gibson specs do not call for a pickguard and although some Spotlights have them, many don’t), chrome hardware (all Spotlights had gold-plated hardware), natural finish (they were available in natural and a darker finish), and manufactured from 1980 to ’85 (the only serial numbers for this guitar are from ’83). The only accurate description of the Spotlight is in Gruhn’s Guide to Vintage Guitars, Second Edition, by Gruhn and Carter.
The only available written record of the Spotlight is a 1983 spec sheet from the Gibson archives, provided by Cease. It indicates there were two distinct models of Spotlight Special - the ASB and the ANT. Both have the Custom Shop logo on the rear of the headstock, the 83-XXX serial number, solid mahogany body and the 2" walnut strip down the center of the maple top, gold-plated hardware, including an adjustable Tune-O-Matic bridge, and stop bar tailpiece, two original PAF humbucking pickups, a one-piece solid mahogany neck with SP-1 peghead with 17-degree pitch, a black truss rod cover with no writing, a bound rosewood fingerboard with deluxe inlays and corresponding side dots. And both had a suggested retail price of $1,299, including Protector II case.
From there, however, the similarity ends.

The ASB model (antique sunburst) came with a “...highly figured quilted maple top,” solid cream-colored binding, traditional ebony head veneer with Gibson pearl inlay, and traditional keystone-shaped machine heads (probably all with double-ringed tuners). There is tremendous variation in the colors (dark tobacco to lighter brown, and at least one in three-color sunburst) and grade/quality of the quilted tops. It also appears some workers were meticulous about bookmatching the tops, while others picked up whatever was available - maybe they thought nobody would notice the sides didn’t match because they were separated by a 2" walnut strip?

The ANT model (antique natural) came with a “...highly-figured curly maple top,” brown binding with two cream pinstripes on the body and one cream pinstripe on the neck, a walnut head veneer in light stain with Gibson logo inlay, and individual pearloid kidney-shaped machine heads. ANT models are definitely the more exotic-looking of the two because of the color, contrasting dark binding, and less-common tuner buttons. Among the ANT models on the market there is less variation in color (all are antique natural, some more gracefully aged), but again, the grade/quality of the curly maple tops and the attention to bookmatching is highly variable.
Gibson started making reissue-style Les Pauls in ’83, and the Spotlight Specials exhibit some features of the reissue. The strip of binding on the cutaway is styled after the ’50s models (consistent width, follows the contour of the body, exposing some of the maple top below the binding, compared to the deeper strip of binding with a straight edge following the maple/mahogany join on other models). Most Spotlights are in the nine-pound range, versus other notoriously heavy Les Pauls of the late ’70s/early ’80s. And Spotlights do not have the dreaded volute on the back of the neck. They are basic Les Pauls in terms of electronics and hardware; there are no coil taps or TP-6 tailpieces. With the exception of their looks (and the tuners on the ANT), Spotlights have the feel of a ’59 Reissue, with excellent weight, tone and vibe. The neck thickness is somewhere between a ’59 and ’60. Despite the belief of poor production quality in the ’70s and ’80s, most Spotlights are of excellent quality, including fit and finish. A metal cover shields the pots beneath the back access plate. One criticism is the poor top bookmatching on some, and the stain or pore filler used on the light mahogany backs did not color or shade evenly on some ANT models.

It appears that interest in the Spotlight, due to its rarity and vibe, is growing among collectors as the guitar approaches “vintage” status. The Official Vintage Guitar Magazine Price Guide, Sixth Edition, suggests a Spotlight in excellent condition is selling for $1,800 to $2,300 (2007: $3,000-$3,500). But based on recent sales, it would appear few owners of examples in excellent or better condition are willing to part with them for less than $2,300, and some are selling for $3,000 or more. One ASB in mint condition is listed on an Italian guitar dealer’s website for 15 million lira - that’s $8,333 U.S. dollars!

There are still many unanswered questions. Although the specs do not call for a pickguard, the abundance of examples with cream-colored guard with gold mounting bracket would indicate some were factory installed. Although the specs call for a one-piece mahogany neck, there is at least one with a three-piece laminated mahogany neck that is fatter than most other Spotlights. Some were also made with knob pointers, and the top hat knobs are a different shape than reissue knobs available today. Was Gibson using available parts inventories?

Certainly, there is more to learn about the origin of the Spotlight, including how the features and design were decided. Was it really just serendipity?  http://www.gibson.com/whatsnew/pressrelease/2001/july31a.html

"By 1981, Gibson realized that there was a market and consumer demand for these older pickups. They assigned engineer Tim Shaw to research and create a re-issue of the older PAF pickups. Gibson at the time were now releasing Les Pauls that were built to somewhat vintage specifications for the first time (these guitars would later be called pre-historics, as they were the pre-cursor to the Gibson Custom Shop re-issue line, which built to vintage specifications). Tim Shaw researched and tried to recreate the old toolmarks and other details that made these pickups what they were. Unfortunately, under the strict Norlin owners, many of his ideas were seen as too expensive and not cost effective. However Shaw was able to re tool the bobbin without the "T" that had been used throughout the past decade and re-introduce the correct square hole back into the bobbin, and more importantly use a thicker magnet which was the correct thickness to magnets used in PAFs. He also discovered that the wire used was enamel. Realizing that they used poly-coated wire, he tried to convince corporate that they needed the enamel coated wire. At the time however the enamel coated wire cost about 1 dollar more, and was not approved to be bought or used. He also found old sheets that explained the number of winds used, and even contacted the original designer Seth Lover and spoke to him about parts used on these pickups. Tim Shaw's efforts, even though not reaching the desired end goal he wanted, were a big leap forward in finding out information about these pickups. His efforts were considered by many to be the first in the long journey many would take in re-creating the PAF humbucking pickup." (Wikipedia)