.
Yeah, they did some rewiring in there!
Here's what is supposed to be there.
Bill Lawrence on the L6-S design:
"When I began working for Gibson... there was a certain hostility towards Fender... the general opinion at Gibson was that a Fender guitar was nothing but a board with a screwed-on neck, but Gibsons were "real" guitars. ...when it came to solid-bodies, they had nothing to compete with a Tele, a Strat, a P-Bass, or a Jazz Bass ... As a designer, I know how complicated it is to combine a functional design with an aesthetic appearance. I don't know if Leo or a team effort was responsible for the final design of Fender's unprecedented masterpieces, but I do know that whoever designed these instruments had extensive knowledge and experience in fundamental design."
"Gibson needed a mainstream guitar that could compete with Fender. In 1972, I was asked to design a multi-sound system for the SG Standard. This didn't make any sense to me, and after several meetings with marketing, I convinced them to introduce a completely new solid-body that offered a wide variety of different sounds. I was given a free hand as long as I observed a set production cost limit. In order to stay within that limit, I had to make use of their existing hardware, including pickup covers, and the champfered body contours I wanted were not in the budget either. Given a mere $25 more to work with, I could have made the guitar to my specs. ... we ended up with a six-position rotary switch, pickups with large humbucker covers, a stock Schaller bridge with a "stop" tailpiece, and a clumsy-looking body. My original prototype had a beautiful, elegantly-shaped pickguard, but somebody changed that too. Even with these changes, the early production L6-S was still an excellent performer. ..."
I frequently enjoy Bill's word choices sprinkled throughout that interview.
These L6-S models can sound quite a bit like a Strat or a Tele.
Of course ... there are several popular songs that were recorded with Teles and then performed live with Gibson Les Paul models and the Internet argues about it.
I've had a little more than passing interest in this guitar because of Bill Lawrence's design involvement and the unique circuit design. I had come across a poorly repaired broken headstock L6-S with the original circuit, for a bit more than I should have paid (but now it's getting more valuable so I may be ok in time) to specifically get the control circuit and pickups to analyze.. other things in the way and I haven't really messed with it much yet but it's there waiting.
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well look at it. But it works and sounds good. 
