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2012 studio too bright


harryslik

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I have a 2012 Les Paul Studio in Tv Satin Yellow It has some chambering in it..

I can not seem to get a bridge pick-up that has the same super low mid & great

Thick sound that my 2014 Les Paul Standard has...(it came with Burstbucker pro's)

I currently have a Burstbucker 3 in the bridge... Why is is still so thin & bright compared

to my standard..??? Does the body or chambering play a large role..??

My next move is to try a Seymour Duncan Seth Lover or Slash bridge pick-up on it.

Unless any of ya'll have any other ideas.

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Because the BB3 isn't as hot as a BBPro. Different magnets. BB3 is A2, BBPro is A5.

 

Have you tried raising the pickup?

 

That's one obvious difference..my thing is I would think the Bb3 should sound

Much better.. I have tried raising.. But thank you

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Sometimes we discovered a super tone in one of our guitars and wish to replicate the same tone in all of our guitars. That tone then becomes our signature tone in our heads and now that's all we know and want in every other guitar. I currently own 11 guitars and not one of them sounds like the other regardless of all of the Frankenstein experiments I have done to my other guitars chasing that tone in my head. I've changed PU, strings, picks, amps, pedal setting and cables without being able to duplicate my tone. The reasons is simple. Every guitar is different. You can take 2 1999 Custom Gibson LP made with the same materials but aged differently and you will get a different tone from both.

 

One of my favorite Gibson guitars is my CS 356. It's the sweetest semi-hollow guitar I have ever own and played, period. And when I pick up my once owned CS 336 it was like night and day. Same dimensions, PU and strings but different tone. I eventually sold it.

 

Maybe you should stop expecting the LP Studio to sound like your LP Standard.

 

Jazz

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Sometimes we discovered a super tone in one of our guitars and wish to replicate the same tone in all of our guitars. That tone then becomes our signature tone in our heads and now that's all we know and want in every other guitar. I currently own 11 guitars and not one of them sounds like the other regardless of all of the Frankenstein experiments I have done to my other guitars chasing that tone in my head. I've changed PU, strings, picks, amps, pedal setting and cables without being able to duplicate my tone. The reasons is simple. Every guitar is different. You can take 2 1999 Custom Gibson LP made with the same materials but aged differently and you will get a different tone from both.

 

One of my favorite Gibson guitars is my CS 356. It's the sweetest semi-hollow guitar I have ever own and played, period. And when I pick up my once owned CS 336 it was like night and day. Same dimensions, PU and strings but different tone. I eventually sold it.

 

Maybe you should stop expecting the LP Studio to sound like your LP Standard.

 

Jazz

 

 

You are probably Right.

But until I find another Les Paul or some other guitar that makes me think I could actually do a gig and be happy with

the sound...I will probably continue on a Wild Goose Chase...and in the end learn a lot along the way..

and more importantly wasting too much money on the quest. Lol

thanks for the reality check.

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  • 5 months later...
1399856114[/url]' post='1519312']

You are probably Right.

But until I find another Les Paul or some other guitar that makes me think I could actually do a gig and be happy with

the sound...I will probably continue on a Wild Goose Chase...and in the end learn a lot along the way..

and more importantly wasting too much money on the quest. Lol

thanks for the reality check.

 

MANY of us here are on the verge of divorce cuz of the quest....

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I have a 2012 Les Paul Studio in Tv Satin Yellow It has some chambering in it..

I can not seem to get a bridge pick-up that has the same super low mid & great

Thick sound that my 2014 Les Paul Standard has...(it came with Burstbucker pro's)

I currently have a Burstbucker 3 in the bridge... Why is is still so thin & bright compared

to my standard..??? Does the body or chambering play a large role..??

My next move is to try a Seymour Duncan Seth Lover or Slash bridge pick-up on it.

Unless any of ya'll have any other ideas.

Try one of the solid LP Trads and see if solid vs clambering makes a difference.

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OK. Hi Harry,

 

I experienced that exact same thing with a now gone 2012 LP Studio in Ebony/Chrome.

 

Some may say things that, though true, are not overly relevent to THIS PARTICULAR MODEL.

 

Here's the problems - IMO:

 

1. Modern Weight Relief applied to the thinner body of a Studio.

2. Granadillo is a good sub for Rosewood (but it has a tighter grain/brightness to it, sorta like Ebony).

--- Those tiny medium frets don't help matters either.

3. Pickups - Get a DiMarzio Tone Zone bridge DP155. Today.

 

Apologies if I sound pushy or anything, but I myself lived thru this nightmare with this model

and spent a lot of time and money trying to get rid of that brightness...and mine came stock with

the 498T!!!!!!!!!!! The lower output PAF variations will not satisfy you (again - my opinion).

 

I know first hand what you're going thru. Please try the Tone Zone. You can always return it, no?

 

I never give advice so 'forcefully' but I must make an exception. Please keep me informed. Good Luck.

sorry to state the obvious but they are different guitars.I have few les pauls and to my ears the 2008 chambering actually makes the LP "cut" like with surgical procession through any amount of band noise..I cannot speak of the new modern weight relief just the 07/08.It kills my 77 in that department but i love my guitars sounding different.I would take the advice above.Always take advice from those who have 'actually' experienced the same situation as you.

 

I am 5'7 and have a small build.I stopped playing les pauls live and moved to strats because of the weight on my 73 and 78.Now i get to use a LP live again!I love Les Pauls and Strats/tele's equally, as they are different tools for different applications IMO.

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I have a 2012 Les Paul Studio in Tv Satin Yellow It has some chambering in it..

I can not seem to get a bridge pick-up that has the same super low mid & great

Thick sound that my 2014 Les Paul Standard has...(it came with Burstbucker pro's)

I currently have a Burstbucker 3 in the bridge... Why is is still so thin & bright compared

to my standard..??? Does the body or chambering play a large role..??

My next move is to try a Seymour Duncan Seth Lover or Slash bridge pick-up on it.

Unless any of ya'll have any other ideas.

 

Had same issue with my first LP ...a chambered 2009 Studio with 490/498s, bright as a day is long. Sold it to get a 2010 Trad with 57 Classics...same thing to a lesser degree (it may have helped had I known better to mess with pup and/or pole heights) but a set of SD JB's helped a lot. Sounds good now. I have 490/498s on my SG Std and it howls all night. Both my son's wt relieved studio and new Trad growl like animals...great tone. One had 490's, then SDs, the other 57's.

 

 

I think a lot factors contribute to the tone...pup, pup height, pup/pole heights, fingerboard material and the body wood. I'd mess with pup/pole heights first.

 

I suspect this is why we see so many guitars trading hands....I'm guilty of it.

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A too brite sounding LP?

 

Well, string choice might play a role too.

 

This summer I was lucky to get a limited Gretsch Red Falcon and because of the combination of TV Jones Jones pickups with an aluminium bridge it was brite as hell. I put on Gibson Vintage Reissue pure nuckel strings and BAM, exactly the sound I was seeking: Dry bass, creamy midrange and a bit tamed treble without loosing clarity.

 

So before thicking about new pickups, I would recommend to try pure nickel strings first, if not already tested.

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This may help - Gibson Pickup Guide

 

Lowering the pickup will give more beef and warmth.

 

Is there a 'Goldielocks' zone with pickups where the magenetic pull is not too much on the strings and not too far away? Agree? Disagree? I personally have BBpros and really lowered them from stock because they were sooo hot.

I find the neck pu a bit dark compared to the bridge, considered a .15 cap (instead of .22) in the neck?

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  • 4 months later...

Then it would sound even brighter / more harsh.

 

Yes, if anything noticable will happen at all...

 

I'd say: lower the pickups. And, - people - use those controls! They are there for a reason!

 

Cheers... Bence

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Yes, if anything noticable will happen at all...

 

I'd say: lower the pickups. And, - people - use those controls! They are there for a reason!

 

Cheers... Bence

 

Amen brotha!

My LP has 4 knobs and a 3 way switch, my amp has 3 knobs, and you can't imagine how much tones I get out of that!

PU height work's magic to.

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  • 2 weeks later...

I have a 2012 Les Paul Studio in Tv Satin Yellow It has some chambering in it..

I can not seem to get a bridge pick-up that has the same super low mid & great

Thick sound that my 2014 Les Paul Standard has...(it came with Burstbucker pro's)

I currently have a Burstbucker 3 in the bridge... Why is is still so thin & bright compared

to my standard..??? Does the body or chambering play a large role..??

My next move is to try a Seymour Duncan Seth Lover or Slash bridge pick-up on it.

Unless any of ya'll have any other ideas.

 

I have chambered and solid Les Pauls, and I don't think the chambering plays a huge part in the bridge tone alone. I have a 24 fret Custom Les Paul which is very bright on the bridge p/up with its 498T pickup fitted because the bridge is closer to the bridge pickup than the 22 fret Les Pauls. I recently changed the bridge p/u for another brand (v. expensive) and it was so bright I took the p/up straight out. The answer for me is to fit a high output p/up (above 14k) and lower the pickup to balance the volume with the neck p/up. This gives a slightly warmer sound to the bridge. Changing to pure nickel strings may also help.

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