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Adri02
Published on 08/02/08 at 06:34
Is it still possible to post an opinion on the Les Paul really brings something to the discussion? I'm not sure, but I'll try to summarize all the positions that you may have with respect to this great instrument.
With regard to the characteristics, know they have varied with time. The les paul from the early 90 had an ebony fingerboard, Gibson then only use the rosewood.
The 90 match at the beginning of the production studio of the series, and also at the time Gibson has no mechanical Gotoh put on the head and ... it was a big mistake! These are actually more expensive (and ugly) as excellent mechanical as Grover that last a lifetime, while they only last 10 years. Like what, the prestige of a trademark does not summarize the manufacturing quality of their instruments.
Few other things to say, less vintage mics sound on a standard (I will return to this later), no binding (the better I always found this process quite ridiculous and expensive for what it brings the final aesthetic), the slice is the same as a standard, the handle is stuck (for better sound in the end).
I have the color ebony good to know: if the les paul was popularized in black at the base, because Uncle Lester was that it would better suit his ... Like what
UTILIZATION
Access to acute: I personally offsets. For me, the LP is not a guitar shredder. I play very often, however, after the twelfth box, but do not feel embarrassed either.
The handle is downright awesome (and it's the first thing that attracted me to this scratch): I have a preference for the ebony fingerboard which is much more difficult and on which slide more easily than the rosewood. That said the sound is loaded with bass, which is not an advantage on a guitar as massive as the LP.
Massive, I said ... Yes it is very heavy. But I think it gives a certain style guitarists who play it, a form of restraint and sobriety in the game scene that avoids some excesses that we observe with love the stratocaster. But it is a pure matter of taste. Note that since 2008, Gibson LP manufactures lighter, much lighter (more enjoyable) but the sound is slightly different: less fat, more sustain and resonance ... I think it's a good thing (unlike the great defenders of the Les Paul), the sound is much more fun.
Rah, do you get a good sound easy? ... NO! It is loud and clear, and I say without question. But it highlights the challenge: make a les paul sound, you will be comfortable on all other guitars (as opposed to a stratum that is far from a guitar teacher). It is also the magic of scratch who played on Paul, because ultimately, it is a tool that completely restores your game. Practice and you'll have a really magical sound, I promise.
SOUNDS
I play with a ENGL savage and I do not use pedals.
The sound of the les paul ... Really indefinable, it is one of the strangest guitars that the land could bear.
We find crystalline cleans (and a little empty) in bridge position and really magical innings. We always say "yeah take for Fender clean" but I protest, the LP stands up very well at this level, and I do not want another scratch for my clean sound!
In crunch it gets really amazing, it grabs the sound of choice riffs, powerful warm, clear ... But this depends heavily on what you plug it! Choose your gear, because we will counterbalance the weight of the scraper with sound material in hi mid busiest.
In saturated fat is both powerful and completely destroy the LP keeps a certain definition, however, some clarity even if the sound tends to twist and from completely balls. In short you will understand, turn the gain with this guitar can change everything!
With regard to the conflict "vintage / modern" I want to make a small note: the Les Paul does not sound "vintage"! You plug it into a Vox AC30 there I want to believe you, but hey do a little list of scratch playing on LP: Bread, Jimmy Page, Green Day, Slash, Indochina, Neil Young, etc.. You see a common thread between these scratch?? I mean, some vintage sound and others do not ... This confirms what I said, this guitar is interdependent with that on which you plug and the way you play. To you to make it sound! As for friends BC Rich, Jackson and others, know that these guitars are made to have a neutral sound: what you hear is the microphone, not the guitar. The Gibson does not sound as can be in your dreams, but they at least have a personality at the violin making, unlike these guitars are so neutral popular among teenagers aged 15 followers of the formula "
In terms of its alleged sustain legendary, I was quite disappointed. Know that there is a way to adjust: the angle between the bridge and the tailpiece should be as large as possible, and similarly, the status of your frets and your nut to sustain final part. As soon as I made the necessary repairs, I edit to say whether it gave a real difference.
For micro ... I was difficult at that level, I asked Seymour Duncan over but hey, the mahogany wood is resistant to a new sound from the microphone so in the end, it has only brought a new sound color to all. This is especially the magnet that will bring a different coloration to the scratch (I do not advocate the alnico 5, it sounds just too weird with the LP). To you to try new combinations ...
OVERALL OPINION
It's been three years since I use it and I really made the rounds ... But something continues to fascinate me in it which I chose to keep it and not switch to a Fender or a Rickenbacker for example ... (Yeah I know, it looks like I'm talking about a chick)
I have often wanted to sell it and buy a different gear, but ultimately I am with, and I prefer to continue to customize rather than start from scratch with a guitar whose sound I tired probablment very quickly.
I advise you, but I would especially recommend to try and be sure before buying it, because with the LP, we are satisfied or very quickly or very quickly disappointed.
With regard to the characteristics, know they have varied with time. The les paul from the early 90 had an ebony fingerboard, Gibson then only use the rosewood.
The 90 match at the beginning of the production studio of the series, and also at the time Gibson has no mechanical Gotoh put on the head and ... it was a big mistake! These are actually more expensive (and ugly) as excellent mechanical as Grover that last a lifetime, while they only last 10 years. Like what, the prestige of a trademark does not summarize the manufacturing quality of their instruments.
Few other things to say, less vintage mics sound on a standard (I will return to this later), no binding (the better I always found this process quite ridiculous and expensive for what it brings the final aesthetic), the slice is the same as a standard, the handle is stuck (for better sound in the end).
I have the color ebony good to know: if the les paul was popularized in black at the base, because Uncle Lester was that it would better suit his ... Like what
UTILIZATION
Access to acute: I personally offsets. For me, the LP is not a guitar shredder. I play very often, however, after the twelfth box, but do not feel embarrassed either.
The handle is downright awesome (and it's the first thing that attracted me to this scratch): I have a preference for the ebony fingerboard which is much more difficult and on which slide more easily than the rosewood. That said the sound is loaded with bass, which is not an advantage on a guitar as massive as the LP.
Massive, I said ... Yes it is very heavy. But I think it gives a certain style guitarists who play it, a form of restraint and sobriety in the game scene that avoids some excesses that we observe with love the stratocaster. But it is a pure matter of taste. Note that since 2008, Gibson LP manufactures lighter, much lighter (more enjoyable) but the sound is slightly different: less fat, more sustain and resonance ... I think it's a good thing (unlike the great defenders of the Les Paul), the sound is much more fun.
Rah, do you get a good sound easy? ... NO! It is loud and clear, and I say without question. But it highlights the challenge: make a les paul sound, you will be comfortable on all other guitars (as opposed to a stratum that is far from a guitar teacher). It is also the magic of scratch who played on Paul, because ultimately, it is a tool that completely restores your game. Practice and you'll have a really magical sound, I promise.
SOUNDS
I play with a ENGL savage and I do not use pedals.
The sound of the les paul ... Really indefinable, it is one of the strangest guitars that the land could bear.
We find crystalline cleans (and a little empty) in bridge position and really magical innings. We always say "yeah take for Fender clean" but I protest, the LP stands up very well at this level, and I do not want another scratch for my clean sound!
In crunch it gets really amazing, it grabs the sound of choice riffs, powerful warm, clear ... But this depends heavily on what you plug it! Choose your gear, because we will counterbalance the weight of the scraper with sound material in hi mid busiest.
In saturated fat is both powerful and completely destroy the LP keeps a certain definition, however, some clarity even if the sound tends to twist and from completely balls. In short you will understand, turn the gain with this guitar can change everything!
With regard to the conflict "vintage / modern" I want to make a small note: the Les Paul does not sound "vintage"! You plug it into a Vox AC30 there I want to believe you, but hey do a little list of scratch playing on LP: Bread, Jimmy Page, Green Day, Slash, Indochina, Neil Young, etc.. You see a common thread between these scratch?? I mean, some vintage sound and others do not ... This confirms what I said, this guitar is interdependent with that on which you plug and the way you play. To you to make it sound! As for friends BC Rich, Jackson and others, know that these guitars are made to have a neutral sound: what you hear is the microphone, not the guitar. The Gibson does not sound as can be in your dreams, but they at least have a personality at the violin making, unlike these guitars are so neutral popular among teenagers aged 15 followers of the formula "
In terms of its alleged sustain legendary, I was quite disappointed. Know that there is a way to adjust: the angle between the bridge and the tailpiece should be as large as possible, and similarly, the status of your frets and your nut to sustain final part. As soon as I made the necessary repairs, I edit to say whether it gave a real difference.
For micro ... I was difficult at that level, I asked Seymour Duncan over but hey, the mahogany wood is resistant to a new sound from the microphone so in the end, it has only brought a new sound color to all. This is especially the magnet that will bring a different coloration to the scratch (I do not advocate the alnico 5, it sounds just too weird with the LP). To you to try new combinations ...
OVERALL OPINION
It's been three years since I use it and I really made the rounds ... But something continues to fascinate me in it which I chose to keep it and not switch to a Fender or a Rickenbacker for example ... (Yeah I know, it looks like I'm talking about a chick)
I have often wanted to sell it and buy a different gear, but ultimately I am with, and I prefer to continue to customize rather than start from scratch with a guitar whose sound I tired probablment very quickly.
I advise you, but I would especially recommend to try and be sure before buying it, because with the LP, we are satisfied or very quickly or very quickly disappointed.