Gibson Les Paul Classic Plus [1993-2002]
Gibson Les Paul Classic Plus [1993-2002]

Les Paul Classic Plus [1993-2002], LP-Shaped Guitar from Gibson in the Les Paul series.

All user reviews for the Gibson Les Paul Classic Plus [1993-2002]

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Average Score:4.3( 4.3/5 based on 6 reviews )
 3 reviews50 %
 3 reviews50 %
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iamqman's review

Gibson Les Paul Classic Plus [1993-2002]
These guitars are great into into the Gibson Les Paul world. They are relativity cheaper than the other models and play just as well in my opinion. Some Gibson Les Pauls can be hit or miss from guitar to guitar so take this with a grain of salt. You can find a terrible playing and sounding Gibson Les PAul Classic and you can find a terrible sounding R9 Les Paul. They can good found with the a standard top or like the plus with the maple top. This is drive the price higher with the nice top.


Gibson U.S.A.
Les Paul Classic Series
Available 1992 to 1998
Standard Colors: Heritage Cherry Sunburst, Honey Burst, Translucent Amber.
Pick Ups: 496R Ceramic Magnet Pickup (Neck)
500T Ceramic Magnet Pickup (Bridge).
Body: Bookmatched Highly Figured Maple Top, Mahogany Back.
Neck: Mahogany.
Fingerboard: Rosewood.
Number of Frets: 22.
Scale Length: 24 ¾ inches.
Options: '60s Slim-taper Neck Profile
"Les Paul Model" on Headstock
"Classic" on Truss Rod Cover
Aged Trapezoid Inlays
Single Ply Binding
ABR Tune-O-Matic Bridge
Stop Tailpiece
Nickel Hardware
2 Volume Controls
2 Tone Controls
3-Way Pickup


I have always like the way the classics played. Some were just terrible and others not so much. It really depends on which one you have in your hand. I have played countless Gibson Les Pauls and many were good and many were not so great and they had priced tags of $4000 and more.

This guitar can be rocked out with a MArshall half stack or a quality tube driven Fender amp. You can get a good classic rock tone from a Marshall plexi reissue or even a fender Twin Reverb with an Ibanez tube screamer out in front. These guitar just play what is given them and with be great accompaniments on the stage.


these guitars can be found on ebay all day long. Most of the ones with nice tops in have been going for right around $2200 give or take a few hundred bucks. The standard body ones have been around $1500 or so. so they can be owned easily and with a good credit card can be yours today. I would recommend playing one used if you can find it to see if it fits your hands nicely and comfortably. That will be the test if you will own it.

Hatsubai's review"Flame maple topped Classic"

Gibson Les Paul Classic Plus [1993-2002]
This is pretty much the same as the Classic, but it has a premium flame maple top on it. The guitar has a mahogany body with a maple top, mahogany neck with a rosewood fretboard, Tune-o-matic bridge, 22 frets, block/trapezoid inlays, a pickguard, two humbucker pickups, two volumes, two tones and a three way switch.


This guitar looks great. However, we had a few batch that had some iffy fretwork and nuts that weren't cut 100% properly. When buying one of these, be sure to make sure the frets feel nice and you're able to achieve low action with it without fretting out. Also, when tuning it up, make sure there aren't any "pings" or any other noises that might occur. If it does, this means that the nut is binding and needs to be opened up a touch.


The guitar sounded pretty good stock. I'm not a huge fan of the Gibson pickups that come in this thing, so keep that in mind. The bridge is high output ceramic pickup, sounds thick and gives that standard Les Paul kind of vibe. The neck is a bit too bright for my liking, but it does the job. I like adding a JB/59 combo in these guitars. It's a bit cliché, but the combo really works well. With the JB in the bridge, you get that high output kind of vibe that really pushes the front end. The 59 in the neck is super fat and smooth. It allows for crazy legato while still remaining clear.


These guitars are really good, and if you can find one at a great price, I recommend snatching it up. They can have some issues with fretwork and improperly cut nuts, so keep that in mind. Thankfully, those are pretty easy fixes compared to a dead sounding guitar. As long as the guitar is resonant, you should have a good player on your hands.

MGR/Anonymous's review"Gibson Classic-Plus"

Gibson Les Paul Classic Plus [1993-2002]
I got this from a collector through Ebay for about $1500 brand new.

The sound is very warm and responsive, but has a ton of punch if you go distorted. I play blues (SRV, King, BB, etc...) and let me tell you this is the guitar for sound. The look is great with a tightly flamed maple top and a well applied cherry sunburst. Fretwork is superb and the action was the only problemo.

The action sucked (tons of buzz) so I had it set up right. And factory settings are for .09's which are way too flimsy for a player like me so I had it set up with some heavier gauges.

Excellent construction, and the quality of the woods were about an 8 out of 10. 8 because there are some flaws in the grain of the flamed maple that take away from its otherwise beautiful look.

If you love blues or rock, you have to try this guitar in a Fender DeVille or '65 Reissue. Nothing can really compare tonally to my ears! I tried PRS but it didn't quite meet the mark in sound. Fender's are too mass produced now and suffer in a lot of areas of construction quality. Gibson (which I've never been a fan of) has now won my heart for electrics (their acoustics suck though).

This review was originally published on

pask30's review (This content has been automatically translated from French)" I love"

Gibson Les Paul Classic Plus [1993-2002]
Guitar made in the United States, bridge les paul classic, round type 60 rather then the end (for Gibson), 22 frets, 2 pickups ceramics, volume and tone for each, 3-position selector


Well the handle goes well, I have small hands, after the highway is not in my jackson guitar either but has a different orientation. Despite the weight loss of Gibson, it is relatively heavy, the balance is not very good, the bulk behind the lady makes the game sitting position uncomfortable. Access to acute is not great but if you know a les paul which is the case, let me know. In terms of sound, it is good to very good. The microphone sends the pate is fat is velvety, the palm mute remains clear and clean, it sounds gibson, the registry is large due to the high output pickups. This requires tame the beast because you have to play with the tone and the volume if you want to be in a more classical. I blame him for a large output gap in the two microphones, so pay attention to changes in full song. To give you an example, I played Brothers in Arms Dire Straits to my wife, she could not believe the subtlety of the sound (I said that my wife has always bathed in the zic before being told that his opinion not worth much :-).


Style of music? I have not! I like everything, when the music is good, it is good regardless of the register. This is also my great problem because of the sudden I need a lot of stuff. Let's say I have my Start for clean sounds, the jackson to nag and shred, between the two I missed that this guitar came close and she does it perfectly.

As mentioned above, the sound is fat, depth, sharp, precise. I play a lil laney VC15. I tend to prefer the sound of the neck pickup, which, while it seems interesting to Abors premium is more subtle is interesting that the neck pickup which sent gum without trying to understand how in ç and lace.

The sound is clear, honest, fabulous crunch, the distortion is amazing. I did not know that my Laney was able to before ca (ca makes me think that I will have to correct me on this amp).


Since two days but I already know it will stay with me for life. No I have not tested many other models, I had a studio one day, I tested a standard but I put off the handle. Whatever anyone says, we can arrive at sound close to a standard despite the difference in micro but is played with the amp settings, the volume and tone microphones and nuances of the game.

What I like most about this guitar is its beauty, quality, sound and on mine (I said that because of all models in the store there were differences) the quality of the key that is just ... perfect.

Mana59000's review (This content has been automatically translated from French)

Gibson Les Paul Classic Plus [1993-2002]
Manufactured in the United States guitar (of the universe!)
22 frets, two ceramic pickups, one volume, one tone by micro
easel type tuno-matic, stop bar
a selector 3-position (a push push the mine is split)
60's slim profile sleeve
table grade AAA flamed maple (which diffrence of the classic classic plus)
body and mahogany neck, rosewood affects, mechanical gibson
9 because no splits of origin, as may propose such prs


The handle 60's is hell I is not big hands, I can tell you that all the guitars I have, (or try, and god know there was in almost 15 years of practice!)
this is by far the one I find most enjoyable, it's like all silent easier with this handle!!
Access in acute against by not top, pass the 17me freight becomes hard,
I find the superb form, the table handle bomb (collraportcette guitar like a violin factory, making it a fun game Confre ingalelle is a bit heavy (4 - 5 pounds!)
but the sustain and warm tones are waiting for you ...
you plug it works, not a ppin, no trick that dvisse, no bazaar which dssoude mysteriously, yet she serves at least five hours every day, and for 5 years! !
sr well after a time to do planning anyway, do not make me say what I did not say!


Question is already trs versatile sound, but once split (it revent his fender! Vridique!)
jazz, bossa lowering the tone of some serious micro (one t 496)
pop rock, hard rock (no kidding ...!)
but also funk, acid jazz
solis clear of the Wes montgomry (without sounding) to funk Claydies smith in the clean split,
through the saturated soft sounds of a boisterous Gambale to the sound of a slash or jimmy page, the bass sounds very hot, the acute
very reactive (high-medium), which contrasts very cre intrssant solo, this one has added a note keeping (the guys from Spinal it is still recovering ...!!! )
I play with a compressor, reverb, wah, delay, koch Studiotone a home or a marshall head 30me anniversary largest configuration, let it be said a good a good guitar amp, there that has a real ...


I use it for at least six years, she has 14 years, my guitar prfre, all (or almost) is great, sure, the metal is not a ibanez or dean, I knew what I invested, if you have any doubts go try it, keeping in mind that rolls (also so versatile you it) as a ferari are two nice cars, but will not do the same thing.
ds than I can do more!, a j'm'en repaid ....

kinder_guano's review (This content has been automatically translated from French)

Gibson Les Paul Classic Plus [1993-2002]
Go, shoo ... Gibson Les Paul Classic Plus series (also called 60's Reissue ...), manufactured in the United States (Nashville plant).

- Mahogany body, table 3 / 4''AA flamed maple.
- Set Mahogany neck Slim Taper 60 (sleeve end to Gibson).
- Pitch 24 "3 / 4.
- Frets medium (nan, it's far from good jumbo very comfortable).
- Bone nut.
- Rosewood (very nice indeed, the wood is fairly homogeneous and smooth), trapeze perloid marks "old" (which tend piss yellow ...).
- All under a layer of cellulose varnish (specialty Gibson), who tends to go on alopecia and / or to large blocks with friction ("attention to the stand on which we will put it, some are the annoying tendency caouchoucs generously of damaging the varnish of this type "to quote Lony ( 2Cidproduit 2C12397.html%)).
- Fillet board and key board body cream, matching the number of plastic accessories very low end, despite the usual spiel about the quality of Made in America The net edge touch passes over the frets, too little detail classy! (Side of the coin, that bush violently days a refrettage).

It starts, yes, Gibson likes to rest on its achievements of the 50's. And left to make their guitars at prices shameful, even to save on all the fittings, b'en they sell and sell as always, why trample the gourd?
Hop, we will therefore make the listing of shame (fortunately, the woods are good, them! Lack just a touch ebony ...).

- Machine "Green Keys" Gibson / Kluxon very ugly (the mechanical is perloid with greenish) taking ... not too bad agreement (any Schaller, Gotoh and Sperzel would be more effective).
- Frames of microphones and jackplate ugly beige plastic and brittle.
- Tune-o-matic and nickel plated stopbar Gibson (on mine, which dates from 2001, everything was oxidized mega! Yuck!).
- Button fastening belt starving scary face the heavy weight of a LP.
Finally comes the mail:

- Two ceramic humbuckers Gibson 496R (neck) and 500T (bridge), two volume and two tones, a toggle switch 3 positions.
And finally, the sumptuous pre 2003 Gibson hard case, that is poo brown on the outside and fuschia vile and grotesque on the inside. Ugly, but at least it protects the guitar.
In short, a note to the woods and assembly of the beast, and a sheet for the Gibson foutage of mouth about the hardware, like all LP Classic and Standard elsewhere.

Added 16/04/2005:

Paf, after my opinion, after the changes made by Patrick White (

- All fittings just pourrite was replaced by chrome Schaller, including MECAS wraps. Straplok Dunlop and the same metal.
- The Gibson pickups replaced with EMG 81 bridge and 85 neck.
- The neck, back and sides of the body was sanded and then switched to black translucent satin varnish. A grip unrelated to what you get with a bit sticky coating of origin.


B'en there, as usual 'is a fucking Les Paul: not an ounce of ergonomics, design unretouched since the 50s. And Gibson is not ready to touch the legend.

- No cutting ease: no stomach cutting, it is busting the ribs easily, no side of the table slightly rounded, it is busting the forearm while playing.
- The junction heel / case is from the 16th box, access to acute is completely compromised (especially when you come out of a neck-Jackson ...).

Ha, if something great, the knobs are not directly above the bridge, they do not interfere when we play, that's really good!

Putting himself in the spirit that Les Paul is not intended as another guitar, it is then necessary to adapt.

That's the big criticism I have of this skyscraper. It may well have a captivating form, be charged with a past "glorious and legendary rock, where other guitars are made to be forgotten and let go all his great musical and creative fiber we all, Heiniger! B 'in the Les Paul, we must bend to its required, the bitch!

Well that's the price to pay when you want to touch the legend.

Fortunately, a big advantage over the Classic (as on the Standard Lite and some new), the handle 60! This is not a rule to Banez, but it's really comfortable and easy when you have small mimine that the rest of the prod 'Gibson (50's neck and 59).

The grip made (a real obstacle course!), The sitting position is quite problematic, between ergonomics and also the imbalance of the lady, who, it must be admitted, quite a big ass.

Standing, it's easier, provided, again, to bow to her.

Another point, weight: the Classic, it is dirty plump.

And the holding of the agreement with the Kluxon is really improved.


The sound of the big Lulu:

A vacuum, and equipped with new ropes in 10-46 at the time of purchase, the bitch, she has the voice! Impressed! Rich, balance, ouarffff!

Once pluggée, b'en there, it's Gibson:

- The 500T bridge, ceramics, as a reminder, a copious output level! In clean, slamming it (you can obviously adjust with knobs for volume and tone controls for each microphone), while remaining fairly bold.

In crunch and big crunch is really nice, she really has a beautiful voice, great Lulu! Always chubby, huge bass!

Basically saturax, same thing. And there, I think, certainly, there's bass, but it starts to bavouiller a bit, it really loses definition ... damned!

- The 496R neck (ditto ceramics) also cause large bass, but far too plump, plump, and there is less fishing the 500T. Not really my thing ... whether clean, crunch, or full. Oh yes, and I have the same impression as its Lony Explo for this microphone, it is a bit cold compared to 500T ...
Added 16/04/2005:

Pickups replaced with EMG 81 (instead of the 500T) and 85 (instead of the 496R).
Has enhanced the sound in my ears: the 81 adding precision where the 500T made by hand, the lower are no longer out of control (no more bavouillis palm mute on the rhythmic lumberjack).
The EMG 85 has also added precision and calmed the bavouillis in the lower. And the sound does not become cold! No, EMG is not cold, especially on an LP hot like fire even if that noise!
and clean and crunch, it's all good too! My LP has retained its soul '(morphotype I reassure the purists)
And I add one point to 'sound' after switching to EMG. That's it.


Ergonomics and sexy look ridiculous in the service of his sacred!

Well, we will not squirm, scratch that I bought because I blocked it since I was a kid. It has always been present in the music I listen to, it is part of my world.

Never bought it before because I know very well, because ergonomics is missing a big brake for me.

But finally, as have some fun as you can!

And finally, I have a Les Paul hyper damn sexy, with a big sound (which I perfected in helping EMG), I finally made the leap!

But prices Gibson ... have the legend, it actually costs a testicle ...

Addition of 24/02/2005: b'en there, I leave the conclusion of my opinion Hamtaro ( ):
<p class="bbcode-cite"> Quote: <span>
Basically it "is full of flaws but I love it!"

Alert morphotype guitarist irrational!</span>

Added 28/02/2005: Following the opinion when it has been changed ( )

Added 16/04/2005:

B&#39;en following the changes, I am crazy about this beam. Yet we must always remember that usability is zero.

But between the handle more comfortable (a little thing, in absolute terms, just a satin varnish), microphones that respond more to what I&#39;m looking at her is happiness!

Ha ouaiche the tofs are also available on my website pourrite ( and a very pourrite chtit sample of LP saturax.