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I'm not locked in here with you, you are locked in here with me.
I have a 2000 LS60 (equivalent spec to todays LS90). Its not as top spec as yours - it retails for £1100 so won't be comparable to a Reissue but I have always seen it as my poor man's Gibson and I never lost that desire for a Gibson, despite the fact that I've played many Gibsons that don't play anywhere near as nicely as my Tokai. I wanted an LP Traditional a while back so went to a shop and tried a couple and non of them played as well as my Tokai - I have played studios, standards, tributes... non of them as good (I did play and R8 that beat it hands down however)
In theory I should be satisfied, but I still look for Gibsons and haven't killed that urge. And I guess this is it - that final 10% is often just the badge, just the knowledge that you have something considered the best.
I have convinced myself now that the way round this is to find a signature Slash guitar - I have always wanted one and it would be something different from the Tokai, in some way justifiable because it will have something that the Tokai can't ever have - signature status. My fear is that I'll get one and it still won't be as good as my Tokai, but despite it being the perfect instrument it can't ever be a perfect guitar because it lacks that name. Very dumb I know but inescapable. When I tell people I play a Les Paul they go 'Gibson?' I guess I just want to be able to say yes, and its that yes that makes up the price difference between your two Les Pauls.
At the end of the day, there are some amazing versions of Les Pauls out there not made by Gibson, from the MIK ranges to the high end replicas, it's down to the individual which guitar is for you in terms of look, sound, playability etc. and no one else can make that choice. It is a hard fact to swallow that the last 10% of what you're after means spending vastly more, thing is thats the same in any hobby/trade isn't it? Look at cycling, some folk spend 1000's chasing a Strava time thats 2 secs faster than their previous best, most of the rest of us just ride the bike and enjoy it. That doesn't mean they're wrong it's just different strokes for different folks really.
The yard is nothing but a fence, the sun just hurts my eyes...
I think the Gibson does have the edge for build quality and finishing, but the Tokai is certainly not bad. The headstock does annoy me, as much because it's too *close* to the Gibson as because it's slightly different, and I've always hated the 'Love Rock' decal. (And Lord Player, or any of the other Japanese substitutes.)
If it was me I would turn the D bridge saddle round the right way on the Tokai and move the neck pickup tone cap so it can't short against the pot on the Gibson, but I'm fussy like that .
Both nice guitars, but there's only one I would buy.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
Excellent comparison piece. While I love the look of LPs I've never been able to get on with them - not sure why, though the compact body and the weight of the few examples I've tried don't balance well for me, esp when playing seated. Definitely one of the most iconic and beautiful solid guitar designs.
Didn't even notice the D saddle and it's intonated (intoned?) well, so hadn't thought of moving it - didn't even realise there was a 'right' way, just intonated or not!
The cap isn't as close as it looks in the second picture - the one above shows it's not touching. Might just move it a touch now you've said that though, or I'll fret about it! :P
Is it definitely a Gibson?
What's wrong is when they leave gaps underneath - you can't see to tell without x-raying it, but the neck angle on this one is nice and low going by the bridge height, so it should be fine - or at the sides. Both these drastically weaken the joint.
Right is with the vertical face of the saddle facing the neck - this gives the cleanest 'take off point' for the string vibration, and reduces string breakage. Gibson usually reverse the E and often the A to give more room for intonating those strings, but if the D is also reversed it often won't go far enough forward to intonate.
I noticed that, and thought you must have moved it, or it moved by itself. I would move it further so it definitely can't contact the pot.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
One measurement I couldn't find though were frets? I presume the fretwire used is roughly the same dimensions? It looks it in the pictures.
To the OP, it's difficult to tell exactly but is the pickup closer to the bridge for the Gibson than it is for the Tokai?
They look like two fantastic guitars though.
I hadn't noticed about the bridge - I'll check next time I'm up in the room
As good as the Tokai undoubtedly is, I'd only ever go for the Gibson myself - I openly admit it's largely sheer snobbery because of the Gibson name (although your review confirms the Gibson has the edge on tone), but also being realistic in terms of any future resale. If I was lucky enough to be able to afford and get a brand new R8 for under £2,500 I know I'd likely be able to sell it for 90% - 100% of its cost. With the Tokai, the value drop in proportion to its new price would be a lot more and the Gibson name is a lot easier to sell. And regardless of how good a guitar it was, it just wouldn't feel 'proper' & special to me - the Gibson would. I'm a name slut, what can I say!