Gibson Les Paul Studio

Feel free to call 740-225-3220 or email questions
You are biding on 1 Gibson Les Paul Studio - plays perfectly - the color is called Faded Brown - it is used and the pictures show as much as posible - the worst is the very small nick on the edge in picture 7 - when held in the right light you can see where the owners shirt buttons left faint signs of use - I could not get them to show up in the pictures - the case is made for Gibson by TKL - it has some wear on the outside as you can see - inside is perfect and the lock has not been asigned - see the red plastic pull in picture 9
Guitar Info

This guitar was made at the
Nashville Plant, TN, USA
October 13rd, 2005
Production Number: 230

http://www.guitardaterproject.org/gibson.aspx

the following information is from Gibson

http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/Les-Paul-Studio-Faded/Specs.aspx

Gibson: Nashville

Gibson’s Nashville plant was opened in Tennessee 1974. All electric models and some acoustic models currently made at this factory. This facility has an average production rate of 220 guitars a day. Each guitar is built by hand and takes about 4 to 6 weeks to complete. Note: Most hollow and semi-hallow body guitars are made at a separate plant in Memphis Tennessee. This facility has an average production rate of 40 guitars a day.

Body

Body Style
Les Paul Carved Top

Body Species
Mahogany
Hardware

Plating Finish
Chrome

Tailpiece
Gibson Stop Bar

Bridge
Gibson Tune-O-Matic

Tuners
Grover Kluson Style Green Keys
Electronics

Neck Pickup
Burstbucker Pro

Bridge Pickup
Burstbucker Pro

Pickup Covers
Yes

Controls
2 Volume - 2 Tone - 3-Way Toggle

Control Knobs
Black Speed

Control Pocket Cover
Black Molded

Special Features
Quick-Connect Control Pocket Assembly

Neck

Species
Mahogany

Nut
Corian

Nut Width
Standard Gibson: 1.695" +/- .050"

Headstock Inlay
Gibson Logo

Silkscreen
Gibson Logo + Les Paul Model

Truss Rod
Gibson Adjustable Truss Rod

Truss Rod Cover
Bell-shaped cover, stamped "Studio"
Fingerboard

Fingerboard Species
Rosewood

Inlays
Figured Acrylic Trapezoid

Frets
22

Scale Length

24 - 3/4"

’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 Faded—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 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 Pro pickups are also wax potted to allow loud volume pressures with minimal feedback. As with all Gibson pickups, every part is precisely manufactured at Gibson USA in Nashville, Tennessee, insuring tight, seamless fittings, and superior workmanship.

Both rosewood and ebony have always graced the fingerboards of the world’s finest stringed instruments, including many of today’s Gibsons. The fingerboards on Gibson’s Les Paul Studio Fadeds are constructed from the highest grade rosewood and ebony on the planet. Both are personally inspected and qualified by Gibson’s team of skilled wood experts before they enter the factories to be fitted onto the neck of the Les Paul Studio Faded. The resilience of these dense and durable woods makes these fingerboards extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates “dead” or “choked out” notes, common occurrences on fingerboards with lesser radiuses. The ebony fingerboard is only available on the Les Paul Studio Fadeds in Classic White or Alpine White. The Rosewood fingerboard is only available on the Studios in Ebony, Wine Red, and Fireburst.

There isn’t anything more critical than the matching of the Les Paul’s mahogany back with its mahogany cap, as well as the regimen involved in selecting the right wood and the formula to dry it out. First, the wood is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This ensures that the wood is dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and controls the shrinkage and warping of the wood, in addition to reducing the weight. It also improves the wood’s machinability and finishing properties, and adherence to glue. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.

There’s something about playing a guitar with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the Les Paul’s solid mahogany back using a Computer Numeric Controlled (CNC) router before the mahogany top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.

The Gibson Logo


The most innovative and revolutionary stringed instruments of all time have carried the name Gibson—the Les Paul, the ES-335, the Explorer, the Flying V, the SG. The list goes on and on. The classic logo is silk-screened onto the face of the mahogany headstock, with a thin coat of lacquer finishing the process. It is the most recognizable logo in all of music, representing more than a century of originality and excellence. There is simply no equal.



• The Gibson Logo
  Angled Headstock
  

  The angled headstock is another example of Gibson’s industry-changing way of thinking. Every Gibson headstock is carved out of the same piece of mahogany as the neck then fitted with Gibson’s traditional wing blocks. It is not a “glued-on” headstock, and the process takes craftsmanship, time, and effort. But the rewards are worth the effort. The headstock is carefully angled at 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain.



• Angled Headstock
  Adjustable Truss Rod
  

  The adjustable truss rod is a Gibson innovation that revolutionized the guitar. Before this ground-breaking discovery in the early 1920s, the truss rod was used only to strengthen and stabilize the neck. By making it adjustable, the truss rod now allows a guitar to be set up using a variety of string gauges, as well as string heights. This easily accommodates any style of playing, and allows a limitless range of set-up options. And by placing it at the base of the headstock, the adjustable nut is easily accessible, even while the strings are still on the guitar.



• Adjustable Truss Rod
  ’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 Faded—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.



• ’50s Rounded Neck Profile
  22-Fret Rosewood Fingerboard
  

  Both rosewood and ebony have always graced the fingerboards of the world’s finest stringed instruments, including many of today’s Gibsons. The fingerboards on Gibson’s Les Paul Studio Fadeds are constructed from the highest grade rosewood and ebony on the planet. Both are personally inspected and qualified by Gibson’s team of skilled wood experts before they enter the factories to be fitted onto the neck of the Les Paul Studio Faded. The resilience of these dense and durable woods makes these fingerboards extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates “dead” or “choked out” notes, common occurrences on fingerboards with lesser radiuses. The ebony fingerboard is only available on the Les Paul Studio Fadeds in Classic White or Alpine White. The Rosewood fingerboard is only available on the Studios in Ebony, Wine Red, and Fireburst.



• 22-Fret Rosewood Fingerboard
  Nickel and Silver Alloy Fret Wire
  

  The fret wire on the Gibson models is a combination nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) specifically designed for long life and superior wear. Gibson’s traditional “medium/jumbo” fret wire is first shaped by hand, then cut to an exact 12-inch radius. After hand pressing it into the fingerboard, a machine press finishes the job to eliminate the gap between the bottom of the fret wire and the fingerboard.



• Nickel and Silver Alloy Fret Wire
  Trapezoid Inlays
  

  The classic trapezoid inlay is one of the most distinguishable features of many traditional Gibson models, including the Les Paul Studio Faded. A figured, swirl acrylic gives these inlays that classic “pearl” look. They are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers.



• Trapezoid Inlays
  Set-Neck Construction
  

  Like all classic Gibson guitars, the necks on the Les Paul Studio Fadeds are distinguished by one of the more traditional features that have always set them apart—a glued neck joint. Gluing the neck to the body of the guitar ensures a “wood-to-wood” contact, no air space in the neck cavity, and maximum contact between the neck and body, allowing the neck and body to function as a single unit. The result? Better tone, better sustain, and no loose or misaligned necks.



• Set-Neck Construction
  Mahogany Back and Top
  

  There isn’t anything more critical than the matching of the Les Paul’s mahogany back with its mahogany cap, as well as the regimen involved in selecting the right wood and the formula to dry it out. First, the wood is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This ensures that the wood is dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and controls the shrinkage and warping of the wood, in addition to reducing the weight. It also improves the wood’s machinability and finishing properties, and adherence to glue. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.



• Mahogany Back and Top
  Chambered Body
  

  There’s something about playing a guitar with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the Les Paul’s solid mahogany back using a Computer Numeric Controlled (CNC) router before the mahogany top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.



• Chambered Body
  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 Pro pickups are also wax potted to allow loud volume pressures with minimal feedback. As with all Gibson pickups, every part is precisely manufactured at Gibson USA in Nashville, Tennessee, insuring tight, seamless fittings, and superior workmanship.



• Gibson's Burstbucker Pro Pickups
  Tune-O-Matic Bridge
  

  The Tune-o-matic bridge was the brainchild of legendary Gibson president Ted McCarty in 1954. At the time, it was a true revelation in intonation, and set a standard for simplicity and functionality that has never been bettered. This pioneering piece of hardware provides a firm seating for the strings, allowing the player to adjust and fine-tune the intonation and string height in a matter of minutes. It also yields a great union between the strings and body, which results in excellent tone and sustain. It is combined with a separate “stopbar” tailpiece, essentially a modified version of the earlier wraparound bridge. To this day, the Tune-o-matic remains the industry standard. It is the epitome of form and function in electric guitar bridge design, and is one of the most revered and copied pieces of guitar hardware ever developed.



• Tune-O-Matic Bridge
  Nitrocellulose Finish
  

  Applying a nitrocellulose finish to any Gibson guitar—including the Les Paul Studio Faded—is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell—as a poly finish does—and allows the wood to breathe and age properly.



• Nitrocellulose Finish