The basis of good cete guitar is known architects. I résumé:
It is a Les Paul Standart therefore makes the USD.
- The back of the guitar is mahogany.
- Channel 22 junction boxes with the 16th. Channel 50 rounded type al (Obviously) mahogany. The frets are large (fawn Gibson). Bonus LTD version, the key is ebony and there is a white binding on the head (fawn LP Custom but without the edging).
- The table is in AA flamed maple (or even AAA (see the photo in my profile)) and the microphones are Burstbucker pro.
Like all Gibson (electric), prvoir the workout in order to play more than 30 minutes without calling an ambulance ....
As always with Gibson yet, plan to change the belt clip by real strap lock (could take close to 4.5 kg of happiness on the feet). Exceptionally, the mechanisms of origin are not bad.
Pacific reef blue finish for mine: A fall ............
The neck is a joy. A real pickaxe handle Fawn Gibson: well known. We like it or not (amateur Ibanez & Company => oust, pass your way soon), I love. It is a rounded handle 50 very comfortable. The ebony fingerboard, beautiful, soft touch yet (compared to the Rosewood). For access to acute, ca is a Les Paul (no more, no less): I fits me very well but I feel that Satriani would moan a little
Ca for ergonomics is also a Les Paul: From Heavy (1 Lespaul Parker = 2 and a half) it must not be far ....... But hey if it sounds the same, the weight of the beast's gotta do something so I forgive him. For the balance, no problem: no comment.
For good sound, you just plug into an amplifier that's all.
Ideal for blues and big sound: like Knopfler, G Moore, etc. .... See the very big sound (depending on the amp).
Personal I use a Fender Hot Rod Deluxe via a Maxon OD 808 and a compressor Electro Harmonyx Black Finger: From integral happiness. I especially like the bridge pickup. With the Tone to 7, it's amazing (cromoisie heat in the amp with a formidable precision ...)
I guess in a good Mesa or Marshall, the sound must also be very good (especially for large saturations). In short, the large round well, with the inimitable warm grain Gibson. Therefore not very versatile but buy you one for an LP versatility ?????
In my opinion, thanks to microphones and ebony fingerboard, the sound is between an LP and an LP Custom Standart (LP Custom rather to the way).
A price for a guitar elite elite .... It's true it's very expensive but it's also an outstanding guitar. The PRS (and others) are rowing a moment to try to get a sound like a Les Paul by far. And that's even more.
I'll spare you the comments on The Paul gnral (weight, aesthetics gnrale (tastes and colors ...), etc. ....). There are even the stupid usual brand (very small belt clip that will not take very long strap, quality chrome caps microphones that will soon shoot up (about 2-3 months, 4 if you are really maniac of a soft pleasant surprise ....). At the radius, the mechanisms are better than usually found on the LP (in Mecas plastoc greenish: FRO).
If you already have a guitar goes everywhere very versatile, it's a guitar has an emergency (if you are good friends with your banker of course).
Personally, I might look a LP Custom and I have this guitar Discoveries closest to her really at (the price down). I flash on that beautiful. So of course I would do that choice ....
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Anonymous 's review (This content has been automatically translated from French)
Short story of a legendary model: who would believe today that the Les Paul began over 10 years to find its audience? Gibson is interested in solid-bodies after the release and success of the Fender Telecaster. Lester William Polfus, jazz guitarist, was cobbled together in 1940 in the workshops of Epiphone, a prototype of a semi-hollow body, the design actually more like that of a solid body: the "log", that the log is to say, with a neck-through electromagnetic 2micros and 2 half Epiphone banks to give an air guitar (and therefore more useful aesthetic and acoustic). He presented his project at Gibson ... sent him home by calling him crazy "broomstick with pickups on it", only to recall the early 50's and offer to promote their first solid-body. Paul was then at the top of the charts with his wife Mary Ford and it was more notoriety than his talents as an inventor that Gibson solicited. Indeed it must be this legendary model to Ted McCarty, Gibson key figure, the participation of Les Paul in the design of the guitar being anecdotal: a bridge / tailpiece trapeze quickly replaced as unreliable, and gold finish. The Les Paul Goldtop released in 1952. The success was not really to go and Gibson decided to modify the model in 1958, with a sunburst finish and new humbucker pickups (the famous PAF invented by Seth Lover in 1957 and available on the Custom): it was the launch of the Standard. Fails, only 1700 Les Paul were built between 1958 and 1960 (hence their high price today). Gibson then decided to fundamentally rethink the model to adopt (this is my opinion) a more Fenderienne: thinner mahogany body, without sounding (and therefore lighter and less expensive), double cutaway (slightly asymmetrical ) for better access to acute jack on the table ... The Les Paul / SG was launched in 1961. Les Paul was dissatisfied with the new model bearing his name and the company did not particularly matter to remain with the guitarist whose popularity was at its lowest. The contract ended in 1963 and the Les Paul / SG became just SG (Solid Guitar). The Les Paul could have finished as well as her sisters Flying V and Explorer 1958 for that matter. But several of the 60 artists rediscovered the model and its warm tones: Jimmy Page, Eric Clapton, ... renewed interest of other guitarists in this guitar a little forgotten. Models on the market then tore vintage. Gibson then decided to take advantage of this craze late to revive the Les Paul. A new contract was signed with Lester and goldtop came out in 1968, with the Custom and the Junior and Standard Sunburst, but only from 1975!
Made in USA
. Mahogany body with flamed maple table with curved grade AA
. Mahogany set neck / ebony fingerboard 22 frets '60s or '50s profile depending on the model ('50s to mine)
. Scale: 24.75 "- 629 mm (standard Gibson)
. 2 humbucking pickups Burstbucker Pro V (sound more vintage)
. 2 volume and 2 tone, 3-position selector
. Bridge tun-o-matic stop bar tailpiece +
. Gibson Kluson Tuners 'Metal Button'
. Nickel fittings
. Decorum: net cash edge, key and handle - White Trapezoid inlays round
. Medium-jumbo frets
. Delivered in Gibson hard case 'Black Reptile Pattern'
. Colors: Pacific Blue Reef - Santa Fe Sunrise - Manhattan Midnight (Pacific Reef for mine)
Note, however, a few finishing details irritants in this range of quality (and price): pots of unequal heights and not plans, jack plate did not marry the perfect rib ... Nothing serious, but at 3000 euros, you look at the beast up close!
At this point, no worries. It connects and it sounds like it should. Of course there is the weight, the big stick to '50s short-scale (629mm against 648mm Fender 650mm or more on a classical guitar, Andres Segovia up to 666mm!), Limited access to acute, we love. .. or not.
This is a typical guitar is a Gibson LP, just a reference. Criticizing the ergonomics of a Ferrari despite its shortcomings?
Let us begin: sound side is the high end. What character, what personality! She does not know everything, but what it does is unique. No other guitar does not sound like it. Of course the sound quality is at the appointment. But is it better than a Fender, PRS, Gretsch ... ? The debate is not because it sounds like no other, and this is his greatest quality. Is a Ferrari is better than a Lamborgini?
A Les Paul Standard improved (ebony fingerboard, metal fittings, burstbuckers pro) and especially an unusual finish make this guitar an LP of their own. Between a standard and a custom, but mostly it is rare!
Only drawback: some finishing details unworthy of his status as a limited edition.
If you find it (and can afford it) why not, there will not be for everyone!