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
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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

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update: it seems of beeing from mid 69 and start of 71 somewhere in between. lets see if I come closer to the exactly date.

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This medium weight Les Paul Custom weighs 10.70 lbs. and has a solid mahogany body with a slightly arched top. One-piece mahogany neck with a nice medium profile, a comfortable nut width of just under 1 11/16 inches and a standard Gibson scale length of 24 3/4 inches. Ebony fretboard with 22 original thin frets and inlaid pearl block position markers. The top of the guitar has seven-ply binding, the back of the guitar has five-ply binding, the headstock has five-ply binding, and the fretboard has single white binding. Headstock with inlaid pearl “Gibson” logo and five-piece pearl split-diamond inlay. Two-layer (black on white) truss-rod cover with “Les Paul Custom” engraved in white. Serial Individual Grover Roto-Matic tuners with half-moon metal buttons. The serial number (“010513″) is inked in yellow on the back of the headstock. Three really hot PAF (double-black) humbucking pickups with very strong outputs of 8.16k, 8.14k, and 7.76k. Five-layer (black/white/black/white/black) plastic pickguard. Four controls (two volume, two tone) on lower treble bout plus three-way selector switch on upper bass bout. Black plastic bell-shaped “Bell” knobs. ABR-1 Tune-O-Matic non-retainer bridge with metal saddles and separate stud tailpiece. All hardware gold-plated.The potentiometers are all stamped: “134 6043″ (Centralab October 1960). There is some very light belt buckle scarring on the back of the guitar (nothing down to the wood), a small piece of binding (1/2 inch) is missing from the edge of the headstock just above the “G” tuner. There are a couple of surface chips on the edges of the guitar, the most significant being on the treble-horn where there is also a small (3/4 inch) cut. A few tiny surface marks on the front of the guitar, and some very minor tarnishing to the gold-plated hardware. The original frets show little-to-medium wear. That all said, this totally original ’60 Custom — with a neck and a sound to die for — is certainly one of the finest that we have ever seen. At just over ten-and-a-half pounds It is on the medium-to-heavy side for a Custom – but the extra weight shows most positively in the sound. This is an amazing one-owner guitar in exceptionally fine (9.00) condition and this is the first time that it is being offered for sale. Housed in its original (very worn) Gibson black pebble-grain “black beauty” hardshell case with orange plush lining (7.50).

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Premium guitar lessons http://www.guitarjamz.com

I moved this from one of my other channels. lots of consolidating going on !! these amps are amazing, tell em I sent ya !!

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