Gibson Les Paul Studio Faded Electric Guitar; A no-frills studio guitar with all the tonal characteristics you love in a Les Paul. Get your fill of Traditional Les Paul performance. The Les Paul Studio has long been the choice of studio musicians everywhere, thus the name Studio . Giving your standard Les Paul a a modern, no-frills attitude makes this Gibson a sought after delight with an easy-going price-tag. The Les Paul Studio has become one of the most desired Les Pauls for its tremendous harmonic and sonic capacities, coveted by musicians from all genres of music. Gibson Les Paul Studio Faded Features ’50s Rounded Neck Profile Angled Headstock Adjustable Truss Rod 22-Fret Rosewood Fingerboard Mahogany Body and Top Nickel and Silver Alloy Fret Wire Trapezoid Inlays Set-Neck Construction Chambered Body Gibson Burstbucker Pro Pickups Tune-O-Matic Bridge Nitrocellulose Finish Gibson Logo  ’50s Rounded Neck Profile No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional ’50s neck profile—found on the Les Paul Studio—is the thicker, rounder profile, emulating the neck shapes of the iconic 1958 and 1959 Les Paul Standards. The neck is machined in Gibson’s rough mill using wood shapers to make the initial cuts. But once the fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel. Gibson’s Burstbucker Pro Pickups Gibson’s drive to recapture the magic of the original Patent Applied For humbucker pickups of the 1950s culminated with the introduction of the Burstbucker line in the early 1990s. Those Burstbuckers—Types 1, 2, and 3—successfully captured the subtle variations of true, classic humbucker tone with historically unmatched bobbin windings and Alnico II magnets. In 2002, Gibson followed up this innovative accomplishment with yet another breakthrough in pickup design—the Burstbucker Pro, designed specifically for the new Les Paul Standards. The Burstbucker Pro features an Alnico V magnet (instead of the Alnico II), which offers slightly higher output and allows preamps to be driven a little harder to achieve a more natural break-up. Like all Burstbuckers, the Burstbucker Pro has asymmetrical coils—true to the original PAFs—which supply a more open sound. The Burstbucker Pro Neck is wound slightly less than the original PAFs, while the Burstbucker Pro Bridge is slightly overwound for increased output. The Burstbucker
List Price:
Price: 799.0

A ’73 Les Paul Deluxe cavity


Image by TT Zop
Here’s the inside of an untouched virgin ’73. The guts of mine will be restored like so…but a bit neater!

Note that the banded or ‘outside foil’ end of the cap goes to the volume pot. This has been true on other Deluxes I have examined, although common knowledge says the direction doesn’t matter (they’re not polarized or directional). However, it’s elsewhere usual to connect the outside foil end to ground…in this case the Tone pot. So does it matter or not? Would the outside foil shield or a lowered impedance to ground have any effect?

Not knowing for certain, I re-installed my caps in the same direction as these…since it’s the direction apparently used most often on this model year as far as I can see.

My re-installation will also follow the exact same Gibson wiring scheme, the standard method often called Modern Wiring and one that has been used exclusively on all Les Pauls for over 50 years. Some people try a variant of this called ’50s Wiring that Gibson hasn’t used since…well, the ’50s. For a reason: ’50s wiring causes the Volume and Tone controls to interact in a less desirable way. Modern Wiring’s controls function more intuitively. (The very term ’50s Wiring causes some to think it means vintage, and anything called vintage must therefore be better). Modern Wiring means better performance, too: You can’t get Modern Wiring sounds from ’50s Wiring, but you can get ’50s Wiring sounds from Modern Wiring. This doesn’t prevent some from rewiring their Les Pauls to hear angels sing and the breeze through the trees. Just say no.

In this passive circuit, the potentiometers’ audio (also called logarithmic, or log) taper allows the Volume rolloff to behave more usefully (versus using a linear pot like an amp’s Volume knob), with coarser control at the top end. The only non-intuitive aspect of this wiring scheme is that, when both pickups are On, either Volume becomes a master volume (rather than truly blending the outputs as might be expected). Independent volume control wiring, however, is noise-inducing and, again, less desirable.

Why do Les Pauls use audio taper pots for Tone controls? Other than tradition, it’s probably not the best choice. In practice, a linear taper pot would provide a smoother and more predictable rolloff of treble. With an audio-tapered Tone pot, the transition from bright to mellow is not a gradually smooth one. Nevertheless, for whatever reason, all four pots are typically audio taper, and players become accustomed to the way they respond.

Gibson used all four 500K audio taper pots until mid-’73. Under Norlin they switched to four 300K until ’77 or so. Then from ’77 until the late ’80s they used 100K tone pots (!). In ’90 or so they started using 300K linear taper (!) pots for Volume and 500K audio taper for Tone. And that’s what they use today — except most Historic and Custom Shop models, for which they use all four 500K audio tapers once again (and on some dropped the cheap ceramic caps for foil as before, too). It’s difficult to confirm the exact when where and what of all this. But it’s something to consider if you think your Les Paul should sound better or your controls don’t act right.

Why 500K potentiometers? Because for relatively high-output humbucking and single-coil pickups, 500K of resistance produces an ideal range of sound. A 1 Meg pot passes a less compressed but un-musical amount of gain and treble; 300K or 250K as commonly used for smaller single-coils is too compressed and bleeds off too much treble.

Why are these 400 VDC rated capacitors? Likely because it’s what Gibson also used on the amps they used to make; easier to buy and stock them all the same. Any rating of around say 100 volts or higher would function just the same, although higher voltages (usually) means bigger size. Why .022 microfarad? Because it’s a good match for a single-turn pot in terms of producing a usable range of treble control. Using a different value, such as .015 or .033, has no effect on tone or brightness: It only affects the amount of treble rolloff as the Tone knob is turned down. When the Tone pot is full on, the capacitor has no effect on the sound at all.

www.gibson.com Gibson USA Presents The Les Paul Studio

An Incredible Entry Level Warlock from BC Rich! The outrageous looking guitars with full-on metal attitude is what has made BC Rich a favorite of high output hard-edge rockers everywhere. Affordable and powerful, the Warlock One offers a tough mahogany body with a 24 fret bolt-on neck offering the incredible tone, playability and eccentric Warlock style that BC Rich players love. BC Rich Warlock One Features Agathis Body with Bolt-on Neck Construction Maple Neck with 24 Fret Rosewood Fingerboard Two BC Rich Black Humbucker Pickups Wraparound Adjustable Bridge and Tailpiece B.C. Rich die-cast Tuners with Chrome Hardware
List Price:
Price: 199.99

Gentleman in a Blue Jacket with a Red Guitar, after Jacopo Amigoni


Image by Mike Licht, NotionsCapital.com
Credit: Mike Licht, NotionsCapital.com

Here’s Eddie I from ‘Hands Like Glass’ shredding on a BC Rich Avenge Son of Beast electric guitar. Original composition. No TABS, so don’t ask.
Video Rating: 4 / 5

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Squiers newly re-released Classic Vibe Duo-Sonic 50s has been given a Desert Sand finish on a Basswood body, with a 24-scale Gloss Maple neck with 21 medium-jumbo frets and a latter day 9.5 fingerboard radius. The sound comes courtesy of two Alnico V single-coil pickups and these are managed via a three-way selector switch for bright, clear classic Fender tones.

The Desert Sand finish is elegantly complemented by the Metallic Gold Scratch Plate and the Cream Pick-up covers, whilst the bridge, master volume and master tone knobs and the pick-up selector switch are all finished in Chrome. The Maple fret board uses inlaid dots as fret board orientation, the classic Fender bullet-type truss rod adjustment is utilised along with chrome die-cast machine heads …

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Do you have a guitar that you’re not quite happy with aesthetically? Ever fancied a change in how your guitar looks?
In this video I will show you how to change certain bits of electric guitar hardware in order to make a change to your instrument.
The demonstration is on an Ibanez GAX-75 guitar and I’ve wanted to change the mismatching black plastic stock hardware on it for ages.
And I feel it cheapens the overall look of the guitar because the rest of the instrument has chrome hardware. So I am finally rectifying
this and making a video out of it.

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www.thecommonsenses.com
www.youtube.com/thecommonsenses
www.myspace.com/thecommonsenses

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