Gibson Les Paul Studio Faded Electric Guitar with Gig Bag
Jun 26, 2010 Gibson Less Paul
Gibson Les Paul Studio Faded Electric Guitar with Gig Bag
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
FREE Line 6 POD Farm guitar amp cabinet tone
Sep 12, 2009 Line 6 Guitar Amps
HEAR my musical Dream Journal @ http://torley.com/music
Duration : 0:13:17
Tags: acoustic, allows, Amp, amplifiers, audio, available, bass, Combo, device, different, digital, DL4, edit, effects, electric, Guitar, head, II, iii, includes, input, interface, line, Live, microphone, models, output, pedals, Pod, Pro, products, recording, Series, software, sound, speaker, Spider, stereo, Stompbox, Studio, system, tone, type, uses, variax, Version, vetta, wireless, x3, XT
Epiphone Les Paul Studio Electric Guitar
Aug 27, 2009 Epiphone Electric Guitars
The Les Paul Studio electric guitar features a set-neck mahogany body and Tune-o-matic bridge/Stopbar tailpiece combo for a great, clean tone and sustain. The open-coil Humbucker pickups gives the guitar a noise-free sound.
Duration : 0:1:4
Tags: alternative, demonstration, electric, epiphone, Guitar, Les, music, Paul, product, r&b, rock, Studio, videos
Gibson Les Paul Studio Faded Cherry- Test by Noisy Strings
Aug 21, 2009 Gibson Less Paul
More demos: http://www.youtube.com/user/NoisyStrings
Just playing a melody a came up with on this beautiful piece of wood. I’m using Ionian, Aeolian and the Lydian mode.
Amp: Vox DA 5 (clean, with some compression)
LES PAUL FEATURES:
BODY
Top Species: Carved maple top
Back Species: Mahogany
NECK
Species: Mahogany
Profile: ’59 Les Paul Rounded
Neck Joint Location: 16th
FINGERBOARD
Species: Rosewood (Ebony on Classic White, Alpine White & Platinum)
Scale Length: 24 3/4″
Number of Frets: 22
Nut Width: 1 11/16″
Inlays: Pearloid trapezoid, none on Platinum
HARDWARE
Plating Finish: Chrome or Gold (Brushed Chrome on Platinum)
Tailpiece: Stopbar
Bridge: Tune-o-matic
Knobs: Black Speed
Tuners: Green Key
ELECTRONICS
Neck Pickups: 490R Alnico magnet humbucker
Bridge Pickups: 498T Alnico magnet humbucker
Controls: Two volume, two tone, three-way switch
Duration : 0:0:52
Tags: 490R, 498T, aeolian, cherry, electric, Gibson, Gilbert, Guitar, ionian, Joe, Les, lydian, mahogany, noisy, Original, Paul, pickup, satriani, Slash, song, Steve, strings, Studio, test, vai, Vintage, Wild, worn, zakk
Laney CUB 10 class A/B all tube guitar amp demo
Aug 17, 2009 Guitar Amps
The CUB 10 is not just a bigger CUB 8 it is a totally different amplifier and comes from further along the evolutionary path of tube amp design.
The CUB 10 is a CLASS A/B design and produce 10 watts RMS of power from a pre amp loaded with 2 ECC83s and a pair of 6V6GTs. The pre amp compliment consists of a Tone control, a Volume control and a Gain control. Along with a set of Hi & Lo input jacks. The CUB 10 houses a 10 Celestion driver.
The CUB 10s Class A/B output section gives this amp a nicely pronounced mid range which is where the natural frequencies of the guitar instrument sit. This means that the CUB 10 has a very natural and responsive mid range when run clean. Push the amp a little harder and things begin to get very
Zeppelin-esque – think Heartbreaker. Hit the strings harder and the amp breaks up ever so responsively, dial in more gain and the amp really starts to cook with vintage tone. The pair of 6V6GTs work hard to give plenty of low-end punch for a small tube amp, perfect for a bluesy solo.
Duration : 0:8:20
Tags: 10, 60s, 70s, AB, all, all-valve, Amp, amplifier, BEAUTIFUL, body, brasher, brighter, British, Celestion, Class, Classic, clean, Combo, cub10, dawn, distortion, driver, electric, full, gig, Guitar, Heat, Heritage, hook, humbucker, jamming, knob, laney, loud, low, Man, neck, nostalgia, pa, pickups, practice, recording, Rich, Riffs, rock, simple, small, sound, Studio, to, tone, tones, tube, up, valve, Vintage, volume, wattage, zeppelin-esque
Laney CUB 8 single ended class A all tube guitar amp demo
Aug 15, 2009 Guitar Amps
The CUB 8 is a brand new single ended class A all tube guitar amp with its roots fairly and squarely back in the very beginning of tube amp production. The design ethos behind the CUB amps is small is beautiful!! There are plenty of situations when small is king and having an amplifier like the CUB8 allows you to get THAT vintage sound. The CUB 8 features a classic single-ended Class A design, and is loaded with
a single ECC83 in the pre amp section and a single 6V6GT in the output section generating 5 watts RMS of vintage tube tone.
The CUB 8s control panel is simplicity personified a tone control, a volume control, Hi and LO input and thats your lot. The CUB 8 houses an 8 Celestion driver.
Using a CUB 8 is straightforward, plug in, dial in your tone and wind the volume up a little and the 6V6GTs respond in a bright, bouncy and brilliant fashion. Drive the output section harder and the increased 2nd and 3rd order harmonics give the tone a pronounced bottom end and a lovely lower mid.
Duration : 0:8:36
Tags: 60s, 6V6GT, 70s, 80's, aggressive, all, all-valve, Amp, amplifier, art, British, Celestion, ClassA, clean, Combo, compact, creative, CUB8, Dark, demo, dial, distorted, drive, driver, electric, era, flavor, gain, golden, Guitar, Heritage, humbucker, in, jam, jamming, laney, lionheart, london, low, music, pedal-fx, pickups, portable, retro, Rich, Riffs, sculpt, sensational, settings, simple, small, Soft, sound, Studio, tone, tube, use, valve, Vintage, wattage
Guitar Battle: Gibson Les Paul vs. Gibson Explorer
Aug 11, 2009 Gibson Less Paul
Set to the classic tune of Rock And Roll by Led Zeppelin, these classic rivals square off in an epic shred-fest to determine which Gibson model truly is the axe of rock.
This is just for fun. A jam session made of improv solos just to show the differences between each guitar. I enjoyed making this battle, so I may make another.
I got the backing track from guitarbt.com
I have no tabs for this, because it is mainly improv.
Guitars:
Gibson Explorer (Natural, Gold Hardware, 2006)
Gibson Les Paul Studio (Heritage Cherry, Chrome Hardware, 2007)
Enjoy!
Duration : 0:3:53
Tags: and, battle, explorer, Gibson, Guitar, Les, Paul, rock, Roll, Studio
Gibson Les Paul Studio
Jul 31, 2009 Gibson Less Paul
The Gibson Les Paul Studio. Video from www.gearwire.com
Duration : 0:3:55
Original Electric Guitar Solo: “Into Thin Air”
Jul 19, 2009 Gibson Electric Guitars
This is an original electric guitar solo that I play on my new Gibson Les Paul Studio, and I play the backing classical guitar as well, pre-recorded. Enjoy!! My NEW guitar lesson website:
http://www.bobsguitarlessons.yolasite.com
Duration : 0:2:34
Tags: bobbycrispy, Classic, electric, Gibson, Guitar, Les, Original, Paul, rock, Solo, Studio
Andy Timmons – Beginning Guitar – Intro Track (Electric Gypsy)
Jul 17, 2009 Ibanez Elelctric Guitar
First Track from: Ibanez – Beginning Electric Guitar with Andy Timmons 1995
Duration: 0:02:14
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Video
Resolution: 352×224
Framerate: 29,97
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Audio
Codec: Mp3 @ 128 kbit/s – 44100 Hz
Channels: 2
Duration : 0:2:14
Tags: 1995, Andy, blues, electric, Guitar, gypsy, ibanez, rock, Studio, Timmons, Track
