- Aug 25, 2020
- Reaction score
I prefer playing my Studio models over my Traditional and Standard. They just feel better for me in spite of how badly I wanted to convince myself that I needed a custom shop.
My 2013 Studio has the coil taps. I don't use this option much, but I do use it at times. No Strat-like tone for sure, but it does come in handy with some tunes.I've never had a Studio but I've looked at them, and one difference that I haven't seen mentioned here is that the Studios (and I don't know if this holds true for all years) were wired with push-pull pots so you could coil split or coil tap and get different sounds from them... my memory is a little fuzzy on this point, maybe someone who owns a Studio could elaborate?
Not saying you're wrong, and for much of the Studio's years and models you're absolutely right. But there are very few things that can be said about Studios that are universally true for all years, all models.The sales pitch for the Les Paul Studio back in the early days was this;
It's a Les Paul Standard, only without the edge binding and attractive top.
It was still that way when I bought my Studio from Zzounds in 1996.
Has it evolved into something else in more recent years?
I don't know.
There are so many models now, and variants, and special editions.
Play what feels and sounds right to you.
If a Les Paul sings to you, then that's the right one.
I can't see Gibson ever building a "cheap" pickup because economies of scale would eliminate most of the extra cost. Gibson makes pickups, period IMO.The Studio not only doesn't have body or neck bindings, the Mahogany for the body and neck are B or even C grade, which is why until more recently nearly all "Studio" models were a solid color and not a Sunburst or Natural / translucent finish. Some of the early models well into the 2000's didnt' get Maple tops from what I've read, Spruce and other woods were used, it at all. Some were all Mahogany.
Also, the hardware is not "A Grade" and nether are the electronics. You aren't likely to get the same premium Gibson Humbuckers that would come on a Standard, on a budget Studio model. You also aren't going to get the same attention to finish (polish and the shoot) as you would on a Standard. Hey goes to reason, got to save production costs, right? Think you're gonna get a Camero SS engine and hardware in a standard budget Camero?
The sales pitch
Sorry about quoting myself, but I found this interesting old thread which starts out with some pics of the body thickness of Studios vs. Standards:Something that's not just cosmetic is the thickness of the body.
Does it affect tone? Not really. I used to like the skinny bodies of Studios, but I prefer the thicker ones these days.
Sold my last Studio 8 or 10yrs ago. It was a '94. Nice guitar.
I will say this though: if you own something and you are constantly asking yourself if it's as good as another thing, you really want that other thing.
I like #3. I have played allot of beauty's that couldn't cut the mustard. Crazy how that works.All of these are studios I either owned or was considering.
This was my first studio. A plain jane '13 closeout. IT really was a damn good playing guitar. and very satisfying especially being a gibby for $500ish. But then I got a very pretty agile and the gibson just didnt inspire me to play it much. It "seemed" wrong that the gibson had to be the ugly duckling.
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So later there was a closeout on the 13 gloss studio deluxe II. I kind of fell in love with one while picking up my plain studio model. They had flame tops that were pretty damn impressive and I loved how the unbound maple top made a sort of herringbone maple binding. I think it looks many times better than plain plastic they charge so much for. Even as a plain top I still prefer it to plastic binding.
This was a heritage CSB
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While waiting for my honeybust studio deluxe to be delivered I went to look at a semi local one
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It was quite beautiful but was truly a dog to play. Just didn't like it. To prove it wasn't just me I compared it to a std and then I saw a 14 studio that was quite beautiful. I played it and loved it.
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It was a matte finish, maple neck I really liked, push pull pots, and an understated flame looking at it from the front but from the player perspective it was an uneven but dazzling flame. It seemed to have some extra zing in the high end I thought would help cut through a mix. It was on sale with a coupon so I bought it for $800.
Everyone who saw and heard it or played it loved it. Later I saw a similar looking 14 studio at another GC nearly as pretty. so I thought they were all like this that year. Eventually my studio deluxe came in and it was stunning, full gloss and hard case but it was at the $1k mark.
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So I had the 14 studio and the 13 studio dlx to compare and 1 had to go back. It was killing me. Took both to rehearsal and the band only commented on how nice the dlx sounded. I found the 14 didnt cut through like I thought although still very nice.
It came down to +/- $200 , the case, the gloss, the boost circuit vs the tougher maple neck, unique look, very likeable semigloss finish. I decided to let all that wash out. In the end it seemed the deluxe popped better in the band and something in the tone and playability of the dlx was just barely, maybe, sort of if you made your ears squint, better?
Then more recently I took the bait at sam ash on the closeout LP CM because I wanted to play with the robot tuners and possibly try to do a refinish.
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Even this bottom of the barrel going bankrupt fire sale scrapwood lp is a damn decent player. I think im not a big fan of the 61 pickup, certainly not bad, and I've been spending alot of time with it recently but not a fav pickup. Very comfy for a long standing jam and there is something special about a raw wood feel. Especially as modern nitro becomes more and more poly like.
this is why it was killing me to decide.
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Even the weird mocha plastic looked good on this model.
All of these are compared to my agiles and a very nice 78 lp custom with ebony fb sort of fretless wonder.
So thats the range of studios I've dealt with but when I came down to it yes. The studio was still very much an lp. The differences in tone I found were very much in the realm of personal preference
They kinda do... but they call them "Probuckers" and they are in Epiphones.I can't see Gibson ever building a "cheap" pickup because economies of scale would eliminate most of the extra cost. Gibson makes pickups, period IMO.
I remember the guy on the phone trying to explain it to me. He was saying its not a flametop. I said oh, its plain. He said. No that wouldnt be right at all. Finally he txted me a pic . If it played well I would have taken it. And maybe the 14 studio with the other 13 still on its way to the local gc. Thats would have been over the crazy line for me.I like #3. I have played allot of beauty's that couldn't cut the mustard. Crazy how that works.