![]() The duo patented a guitar pickup design in 1944 and began producing lap-steel guitars and amps under the K&F brand in 1945. Fender initially teamed up with Clayton “Doc” Kauffman, a lap-steel enthusiast and inventor who had previously worked for Rickenbacker. The tiny amp Clapton reportedly used on Layla predates even the Tele and Strat.įrom the late 1930s, Leo Fender had a radio repair shop in Fullerton, California, that also sold records and musical instruments, so it was a natural progression to start building his own amps. ![]() In August 2019, the Layla guitar, as it’s become known, sold at auction for $1.25 million. ![]() In the years following the exchange, the goldtop traded hands and was stripped and refinished along the way.ĭespite these changes, it was possible to authenticate the guitar via the distinctive pattern in the pearl inlay at the 15th fret. On September 16, 1970, shortly after completing the sessions for Layla, Duane traded the guitar, $200 cash and a 50-watt Marshall head for a 1959 Gibson Les Paul ’burst owned by Rick Stine, guitarist for Stone Balloon, which was opening for the Allman Brothers at a show that evening.īeing fond of the pickups in his goldtop, Duane had them swapped for the units in the ’burst. Noted ’57 goldtop players include Duane Allman, who played a stunning 1957 Les Paul goldtop for the first 18 months of his two-and-a-half years in the Allman Brothers Band and on numerous sessions with other artists, including Layla and Other Assorted Love Songs.Īllman acquired his goldtop, serial number 7 3312, in late 1968 or early ’69, most likely from Lipham Music in Gainesville, Florida, the source of many instruments purchased by Allman and bandmates Dickey Betts and Berry Oakley. Shortly after completing the sessions for 'Layla,' Duane traded the guitar, $200 cash and a 50-watt Marshall head for a 1959 Gibson Les Paul ’burst owned by Rick Stine, guitarist for Stone Balloon Other guitar companies soon followed suit, outfitting their electrics with versions of the humbucking pickup. This innovation also produced a beefier tone that would be embraced by legions of blues and rock players for decades to come. By connecting two pickup coils in series and out of phase, Lover and Gibson set out to remedy the 60-cycle hum common to single-coil pickups.
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