Gibson Les Paul Suggestion

[vertigo_]

I am trying to get a high end lp to go with my mesa roadster. Right now, I am going through a bunch of them and this is what I like :
http://www.musiciansfriend.com/product/Gibson-Les-Paul-Classic-Custom-Silverburst-Electric-Guitar?sku=514156

I wanted to get some advice from you guys. I love the adam jones sound. Any suggestion on what kind of lp to get. Also stuff like :

1)body?
2)Neck?
3)Pickup?

Thanks alot.

 

[bluntage]

That is an awesome LP! I'd love one of those.

 

[Bruce Dickenson]

for that price you can get 57 or 58 vos, man. That silver burst looks sweet though

 

[Elpelotero]

lp's will have mahogany bodies and necks 99% of the time. What changes is the fingerboard and body top.

A maple top adds nice sparkle and clarity. If you have an all mahogany guitar, you have to compensate somewhere else (maybe an ebony fretboard or a bright amp) to make up for it. Otherwise, you have a really dark guitar.

I personally don't like the sound of ebony, but that's me. It add's a lot of sharp attack to the transient of the note. Rosewood (brazilian is the best, followed by indian) adds warmth to the tone.

With les pauls, since they are almost all built with the same woods, what you have to look for to separate the best from the worst is the quality of the wood, the years of production, the carving (is it chambered to relieve weight?), and then giveaway signs of a cheap build such as crappy tuners or no name pickups.

In my humble opinion, if you are going to spend close to $3000 on a les paul, get yourself a 1958, 1959, or 1960 reissue. They are the best stuff Gibson is putting out these days in terms of quality. The only differences b/w each is the neck profile and frets. It can be argued these guitars are even better than the stuff the custom shop puts out.

Last thing, i believe Jones uses seymour duncan JB and 59 pickups. They give him that nice bite.

 

[Rocky]

Jones plays Les Paul customs with JB humbuckers in the bridge position.

 

[SixVeeSix]

Les Pauls? It's been a while but I have set up hundreds of them. The silverburst is cool looking but plan on it turning into a sickly yellowish green burst over time, the old ones all did. I strongly recommend that you actually play the guitar you buy if possible. I have played many that looked similar and sounded quite different.

As another poster pointed out, the woods do change the sound. The original Silverburst Customs were from a period on Gibson's history where many Les Pauls had laminated maple necks. They even made a few with maple fingerboards, like a Fender.

My favorite Pauls? To look at, I love a Custom. Had a white Custom with gold parts and the creamy faded finish and loved looking at her.

To PLAY? Hands down, a good Les Paul Studio model. Why the cheap version? The extra angle of the headstock improves the tone to my ears but even more important is the effect of binding on your fingerboard real estate. Gibson frets the board and then caps it with binding. The binding adds width to the neck but is not playable area. Total unplayable area of a Gibson bound neck is just a bit under an eighth of an inch, split between each outer edge. The Studio has no binding and so the entire fretboard is yours to play on. They have offered Studios with maple or mahogany necks and ebony or rosewood fingerboards so everybody can have their preference.

My favorite right now? I have just one Les Paul, a Limited Edition Studio in Copper top with Black back and sides. There are no fret markers on the face of the ebony fingerboard, they had to use one of their best pieces (no hiding defects with blocks of plastic). Best of all, it has a HUGE neck which gives a tone all it's own. It came to me with Sperzel tuners and I am mulling over what pickups to put in but the stock ones are decent enough. Good luck finding your baby, she will let you know when you find her!!

 

[cant play pool with a rop]

Like any gear you really need to play before you pay...CRITICAL with Gibson for their QC is spotty. When I get a certain Lester in my targets I make sure I give the guitar a faithful checkout before buying.It is usually a time consuming experience till I find the one that has that mojo and quality but always well worth the wait.

 

[Rocky]

Les Pauls? It's been a while but I have set up hundreds of them. The silverburst is cool looking but plan on it turning into a sickly yellowish green burst over time, the old ones all did. I strongly recommend that you actually play the guitar you buy if possible. I have played many that looked similar and sounded quite different.

As another poster pointed out, the woods do change the sound. The original Silverburst Customs were from a period on Gibson's history where many Les Pauls had laminated maple necks. They even made a few with maple fingerboards, like a Fender.

My favorite Pauls? To look at, I love a Custom. Had a white Custom with gold parts and the creamy faded finish and loved looking at her.

To PLAY? Hands down, a good Les Paul Studio model. Why the cheap version? The extra angle of the headstock improves the tone to my ears but even more important is the effect of binding on your fingerboard real estate. Gibson frets the board and then caps it with binding. The binding adds width to the neck but is not playable area. Total unplayable area of a Gibson bound neck is just a bit under an eighth of an inch, split between each outer edge. The Studio has no binding and so the entire fretboard is yours to play on. They have offered Studios with maple or mahogany necks and ebony or rosewood fingerboards so everybody can have their preference.

My favorite right now? I have just one Les Paul, a Limited Edition Studio in Copper top with Black back and sides. There are no fret markers on the face of the ebony fingerboard, they had to use one of their best pieces (no hiding defects with blocks of plastic). Best of all, it has a HUGE neck which gives a tone all it's own. It came to me with Sperzel tuners and I am mulling over what pickups to put in but the stock ones are decent enough. Good luck finding your baby, she will let you know when you find her!!

I have been setting up pauls for decades now. That post has some points that I find a little misleading, incorrect or kind of strange.

1. The Studio models have 17 degree pitch on the headstock. That pitch is the Les Paul spec pitch and has been for quite a while now.

2. The greening issue on 80's Silverbursts has been corrected.

3. Calling the binding a performance issue is weak and, to be honest, a little silly. Go into a store and look at a standard or Custom. A person would have to have some FREAKISHLY strange vibrato or bending style to have it hamper their playing. Other high end makers do the same thing with their binding...I am talking about some stuff way higher up the food chain than regular line Gibson pieces.

4. Silverbursts were NEVER available with Maple fretboards. There were 2 models of Custom with Maple boards...the silverburst is not one of them.

5. Standards are available with the large 50's rounded neck or the thin 60's profile. Studios have the 59 rounded, slightly bigger but not THAT much bigger.

6. Saying that inlays are there to hide imperfections is complete guesswork, no foundation in fact. Once again...this is the first time I have ever heard this sort of arguement. Interesting but problematic. ottom line is that modern Ebony is problematic as far as color, imperfections that will have an effect on playability or tone etc are really not going to have an effect. Cosmetics are easily overcome...makers OFTEN dye Ebony to even out the color. Roger Sadowsky and Ken Smith have both said that they dye their Ebony stocks to make necks look better if a client wants the neck to be really black. Streaking in Ebony is normal and natural. Ebony is not a really rare wood. Saying that you are getting the best Ebony on a studio would imply that Gibson is saving their best woodstock for an economy guitar.....that is not how Gibson thinks folks.

Studios are great guitars and are a fantastic bargain, but they are the training bra's of the Les Paul line. I am, of course, ignoring the faded and BFG lines in that statement.

 

[SixVeeSix]

Les Pauls? It's been a while but I have set up hundreds of them. The silverburst is cool looking but plan on it turning into a sickly yellowish green burst over time, the old ones all did. I strongly recommend that you actually play the guitar you buy if possible. I have played many that looked similar and sounded quite different.

As another poster pointed out, the woods do change the sound. The original Silverburst Customs were from a period on Gibson's history where many Les Pauls had laminated maple necks. They even made a few with maple fingerboards, like a Fender.

My favorite Pauls? To look at, I love a Custom. Had a white Custom with gold parts and the creamy faded finish and loved looking at her.

To PLAY? Hands down, a good Les Paul Studio model. Why the cheap version? The extra angle of the headstock improves the tone to my ears but even more important is the effect of binding on your fingerboard real estate. Gibson frets the board and then caps it with binding. The binding adds width to the neck but is not playable area. Total unplayable area of a Gibson bound neck is just a bit under an eighth of an inch, split between each outer edge. The Studio has no binding and so the entire fretboard is yours to play on. They have offered Studios with maple or mahogany necks and ebony or rosewood fingerboards so everybody can have their preference.

My favorite right now? I have just one Les Paul, a Limited Edition Studio in Copper top with Black back and sides. There are no fret markers on the face of the ebony fingerboard, they had to use one of their best pieces (no hiding defects with blocks of plastic). Best of all, it has a HUGE neck which gives a tone all it's own. It came to me with Sperzel tuners and I am mulling over what pickups to put in but the stock ones are decent enough. Good luck finding your baby, she will let you know when you find her!!

I have been setting up pauls for decades now. That post has some points that I find a little misleading, incorrect or kind of strange.

1. The Studio models have 17 degree pitch on the headstock. That is Gibsons standard spec.

2. The greening issue on 80's Silverbursts has been corrected.

3. Calling the binding a performance issue is weak and, to be honest, a little silly. Go into a store and look at a standard or Custom. A person would have to have some FREAKISHLY strange vibrato or bending style to have it hamper their playing. Other high end makers do the same thing with their binding...I am talking about some stuff way higher up the food chain than regular line Gibson pieces.

4. Silverbursts were NEVER available with Maple fretboards. There were 2 models of Custom with Maple boards...the silverburst is not one of them.

5. Standards are available with the large 50's rounded neck or the thin 60's profile. Studios have the 59 rounded, slightly bigger but not THAT much bigger.

Not looking for a pissing match because we are here to have fun, but let's take these one at a time shall we?

1. 17 degree pitch is standard for the Studio and was standard on 50's Les Pauls. From the late sixties well into the 90's most Les Pauls except studios and the re-issue models have a 14 degree pitch, including all the original Silverbursts. An accurate reissue would reflect this (not saying this is an accurate reproduction). If Gibson has gone entirely back to the 17 degree pitch it is good IMO and I stand corrected on this point.

2 Sorry, the greening issue on 80's Silverbursts has not been corrected. They are all still green!! The UV inhibitors in the new water-based UV cured finishes may keep the clear coat clear longer. Depending on which state you live in the smoking in public laws may keep your guitar from yellowing as quickly also (plus it won't stink!). Still gotta watch that acidic sweat in the localized areas. Give these new guitars another 10-15 years, they will change color too.

3. Your tastes are very different than mine. I feel VERY crowded when I can't have my frets all the way to the edge of the fingerboard. Martin laps their frets over the binding, I have an old Hoyer ES-335 copy that has frets over the binding. It is more work, but a couple of my clients paid me to refret their Les Pauls with the overlap because they feel the same way I do. For some of us, it is better. Part of the fun of the guitar is all the different ways people will play it. Have you seen the guy on YouTube that chords with his toes? Amazing, can't tell if his neck is bound though.

4. Guess I will just have to forget about the one I worked on that was a Silverburst with a maple fretboard. It's been at least 15 years ago so it is a Greenburst by now anyway! All sorts of oddball Gibsons exist, you know this. Not being in any catalog does not make something go away.

5. The neck on my LE Studio is fatter than usual for a Studio. Compared to the 84 Burgandy I just sold to a friend it is something you will notice instantly. Of course it also has huge frets. Still just a bit over one and eleven sixteenths wide though so it is just rounder not wider. A friend bought the Swamp Ash Studio and he says the same thing about his (he is in Idaho so I haven't played his yet).

FWIW I have been doing this a long time. I was putting a middle pickup in client's Les Pauls back when Frampton's live album was big. I put a Floyd Rose in a brand new Custom for lady who wanted it for her boyfriend's birthday (lucky guy). Put tons of large humbuckers in Deluxes way back when, all that fun stuff we should not have done but knew no better. I've played Les Pauls from the 50's through the present and you can still get a great one new. Just thought I would give an alternate view since you could buy a used Studio that plays and sounds every bit as good as the OP's new love and have money left over to snag a Lonestar in a custom color. OK, nuff said. Rock on!

 

[SixVeeSix]

Not to be tedious but:

6. Saying that inlays are there to hide imperfections is complete guesswork, no foundation in fact. Once again...this is the first time I have ever heard this sort of arguement. Interesting but problematic. ottom line is that modern Ebony is problematic as far as color, imperfections that will have an effect on playability or tone etc are really not going to have an effect. Cosmetics are easily overcome...makers OFTEN dye Ebony to even out the color. Roger Sadowsky and Ken Smith have both said that they dye their Ebony stocks to make necks look better if a client wants the neck to be really black. Streaking in Ebony is normal and natural. Ebony is not a really rare wood. Saying that you are getting the best Ebony on a studio would imply that Gibson is saving their best woodstock for an economy guitar.....that is not how Gibson thinks folks.

My response - Very aware of the dyeing, it's been going on since at least the 1800's. Warmoth necks are one of the few places I know of that you can get undyed ebony. And my Studio has a dyed fretboard, beyond any doubt. Ebony is easily chipped and some pieces have defects in the grain. Running piles of fingerboards through your equipment day in and day out there are going to be some rejects. I am not sure if Gibson cuts the slots first and then profiles but that is probably how I would do it. If you cut the fret slots first and then profiled the boards (admittedly they are sanded so chipping is impossible), would YOU reject a board where the grain defect landed in the inlay area? It won't affect the tone or play, you are going to use it anyway. Just not on a guitar with no inlays

No, really, you win this one. I made it up completely!! It sounded good until you started picking it apart. I still have a great piece of ebony on my Studio so I don't care! All right done now, hope nobody is offended because I am not. Be good and rock on!

 

[Rocky]

I can't see how anyone could be offended that the Studio model is a great guitar for a fantastic price. I played a nice white one the other week that just impressed the hell out of me.

I'm not sure what Gibson's process is for fret slots either...maybe someone here has taken the Gibson factory tour and seen the slotting process with their own eyes.

anyone?

 

[Rocky]

2 Sorry, the greening issue on 80's Silverbursts has not been corrected. They are all still green!! The UV inhibitors in the new water-based UV cured finishes may keep the clear coat clear longer. Depending on which state you live in the smoking in public laws may keep your guitar from yellowing as quickly also (plus it won't stink!). Still gotta watch that acidic sweat in the localized areas. Give these new guitars another 10-15 years, they will change color too.

yeah, I worded my second point poorly.

Granted that we cant see the future Gibson CLAIMS to have taken care of the greening issue with a new finish mixture and undercoat process. Is that true? only time will tell.

 

[vertigo_]

thanks for all the information....I have to compile all these input and make a final suggestion for me. What is the hottest gibson pickup? Any idea?

 

[Elpelotero]

thanks for all the information....I have to compile all these input and make a final suggestion for me. What is the hottest gibson pickup? Any idea?

either the 498 or 500 or one of their artist models.

 

[SixVeeSix]

My 1978 Silverburst is still silver not green!!
The binding is fading has a yellowish tint to it.
Do I have to leave it out in the sun or sweat on it an not clean it so it turns green :shock: :roll: :lol:

Rarest of the rare!! You could have it refinished in green as a tribute to it's longevity :lol: Or get a gig at the casino, everybody smokes at the casinos around here. :wink: If it were mine, I would store it on the roof so it could get some sun :twisted: On a more serious note, did you buy it new? Sounds like you take great care of your baby, nice work.

 

[devilrob1979]

Here's a pretty thorough first hand review from a guy who knows gear pretty well.

http://forums.carvinmuseum.com/viewtopic.php?t=16496

He loves his.

 

[Rocky]

It is not an absolute that the silverburst pauls will turn yellow-green. I have seen examples that held their color quite well. Problem lies in Nitrocellulose and how it ages...it yellows.

If the new guitars have a hybrid nitro-poly finish like Fender uses on some of their vintage reissue models then the color should be quite stable.

Key words here are IF and SHOULD.

 

[Bruce Dickenson]

I just got a 2005 heritage re-issue goldtop darkback brand new unplayed for $2250 shipped. I'm not saying don't get they silver burst, but you can probably get that one for cheaper. Also nothing beats getting something from a place you trust and will treat you right. Give Willcutts a call and see what they can do.

 

[Wickerman]

Hi

I have a 05 LP custom in white. And it is absolutely fantastic. There are no quality issues that i 've had, and it sounds amazing. When i bought mine it listed for $2999. I got the guy down to $2400 with case.

good luck

 

[Anonymous]

have to admit also:

own a 02 ebony standard with chrome hardware. absolutely fantastic guitar! intonation, neck, action and sustain (call her my grandpiano!) are marvellous.

only the finish is a bit soft, scratches are easy to be made, sigh.

tried 30-40 lp's from studio to standard to custom and vintage - nothing came into serious selection. after all the guy crawled into a dark corner and came back with this already 4 years old paula. one touch, one punch and the deal was done. and yet the price was also attractive.

switched machine heads and put most of the plastic off, that's it.
happy happy!