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About ProfChaos

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  1. It is tough to decide on one color when there are so many beautiful Les Pauls out there, but I think that the Peacock Green Quilt-Top is the prettiest Les Paul color I've ever seen. cheers, --Professor Chaos
  2. Even it it is not a fake' date=' if it is a Seventies Les Paul, it is suspect in my book, unless it is highly collectible or an unusually nice guitar. (It is sometimes easy to forget how much junk Gibson made in the Seventies and early-Eighties; it wasn't until the lawsuit over the Aria Pro Series Les Paul copy--which BTW kicked the '70s/early-'80s Les Paul's butt--that Gibson got a handle on making the new-era Les Paul that we have come to love. Fender was even worse back then, with dead spots and fret-buzzes on legions of poorly manufactured, over-priced Strats and Teles. In early 1979, I paid $800+tax for a 1978 Telecaster Deluxe that I later found had finish-check cracks in the black finish and also had several buzzy frets. Today, because of advances in computer-controlled manufacturing, any $550 MIM Telecaster is a far better instrument than that piece of junk for which I paid $800+tax when that was a ton of money for a new guitar. And, let's not forget that the Epiphone Les Paul Standard Plus is a very impressive instrument for the money. I would take one of those, any day, over my first Les Paul, a P.O.S. 1979 Les Paul Standard.) In short, unless the above guitar is highly collectible and you are investing, why not just get a slightly used LP Standard from your local Craig's List, or better yet, buy three different color models of the Epiphone Les Paul Standard Plus? lol cheers, --Professor Chaos
  3. All of the above points are informative, and it just reinforces the point that, for some individuals, variety/change is a threatening "reality," while for others, it is a welcome divergence... Personally, I welcome variety when it comes to Les Paul models, particularly because many of the recent changes to Les Paul models are changes that satisfy legitimate concerns about sound quality and playability. For example, adding the Plek Machine was a stroke of genius: Les Paul Standards are notoriously inconsistent when it comes to fret-setting/fret-dressing and playability. (My Buscarino custom shop guitars make every Les Paul that I've ever played seem like an obstacle course with regard to fret-quality and playability--understandably so, because they are both one-off guitars and were made with TLC by one of the premiere luthiers in the world.) The Plek Machine is thus a welcome friend for the Les Paul enthusiast who wants a "player's guitar." Another stroke of genius is the new Les Paul Traditional Pro, which offers both push-pull tapped-coil pickups for a greater variety of sounds and a Burstbucker 3 pickup for a ripping bridge pickup sound. It also is not chambered, and it does not cost more than $4000. This guitar thus addresses the concerns of those who prefer a Les Paul that is both non-chambered and Burstbucker-equipped but who don't have the hefty equipment budget required for a Gibson Custom Shop purchase. The new Les Paul Traditional Pro is a clear-cut case of Gibson R&D reading this message board and then showing sensitivity to the concerns of sincere Les Paul aficionados. Even so, I look forward to the plus-top version of the Les Paul Traditional Pro. lol cheers, Professor Chaos
  4. I could tell whether or not a Les Paul were chambered, because my first two Les Pauls were non-weight-relieved and I thus grew accustomed to the traditional Les Paul--call the chiropractor--feel. The first was a piece-of-crap early-Eighties Cherry Sunburst Standard that had crummy Dimarzio passive pickups installed before I bought it, and the second was a Heritage Cherry Sunburst 4-A Quilt-Top "1960 Classic" (1992), an axe for the ages that was made before Gibson stopped putting high-quality tops on the Les Paul Classics--before they started stenciling "Classic" into the "Les Paul" logo on the Les Paul Classic headstock. (Man, I miss that guitar.) Today, I played a new Les Paul Traditional Pro at Guitar Center, and the feel was unmistakable as soon as I lifted it from the hanger on the wall. This particular guitar isn't "one of the good ones"---it doesn't have that resonance and that special "ping" that I've come to love in a Les Paul--, but it is definitely not chambered, although it is weight-relieved. cheers, --Professor Chaos
  5. To supplement your point' date=' I add to following hyperlink about the layoffs at Gibson: "Music Row" Brief Article on Gibson Layoffs cheers, --Professor Chaos
  6. Overall, the Les Paul is a fine guitar with no issues serious enough to discredit it as a worthy purchase--provided you get "one of the good ones." (This holds true for many other guitars as well, since quality of wood and minute details of assembly tend to vary significantly from one guitar to the next, even within the same assembly run.) That said, I'll list a few issues that are not particular to the individual guitar, but are a matter of aesthetic tastes on my part: 1.) I prefer the new "LP Traditional" to the new "LP Standard," mostly because the sound of the chambered Les Pauls does not really do it for me. This is not due to the '57 Classic pickups in the LP Traditional, because they do not do it for me either. I prefer the "hotter" sound of the Burstbucker Pro, as it is arguably the finest passive humbucker ever made. That said, with respect to all who actually prefer either the more vintage sound of the '57 Classic pickups or the more "hollow" tone of the new chambered LP Standards, I wish there were an option where you could get a Les Paul Traditional with Burstbucker Pro pickups. Since I unfortunately had to sell my Burstbucker-Pro-equipped LP double-cut, Guitar Center issue (2006-2007 production run), my solution to replacing this awesome-sounding guitar is as follows: When I am soon-to-be-blessed, I will have to buy a choice Les Paul Traditional and then buy a matched pair of Burstbucker Pro pickups so that I can install the pickups myself. 2.) It would be nice if Gibson would install a low-mass locking tuner like the Kluson TonePros locking tuners that are manufactured by the same factory that makes the TonePros Kluson-style tuners that come standard on the Les Paul Traditional. The Grover locking tuners that come on the new Les Paul Standard are an upgrade from the TonePros Kluson-style tuners of the new Les Paul Traditional, but the Grover locking tuners change the character of the higher register of tones produced by the guitar; the Kluson TonePros locking tuners contain less tone-reducing mass and would thus offer the best of both worlds, especially if they were also available on a non-chambered Les Paul such as the Les Paul Traditional. cheers, --Professor Chaos
  7. Since it just doesn't feel right to limit it to one guitar player, I'll break it into styles of music, even though breaking things into categories--especially music--is a somewhat dubious practice: Rock: Jimi Hendrix Progressive Rock: David Gilmour Jazz: Django Reinhardt (Django Video on YouTube) Fusion: Steve Morse , Kansas 2.0, Deep Purple 3.0) Blues: Stevie Ray Vaughn Studio Musician: Kevin Eubanks (The Tonight Show with Jay Leno) Punk/Post-Punk: Bob Mould ( , , ) Alternative/Post-Modernist Rock: Ty Tabor (King's X) That about does it, I guess. cheers, --Professor Chaos :-
  8. Does this mean that I might request a "one-off" by paying up front for colors or features that are not standard fare for a Gibson Custom Shop guitar? More specifically, some time in the near future, if it is possible, I will be interested in ordering a Les Paul Custom with a 5-A quilt--or flame--top in light trans-blue (like the Guitar Center DC's), with nickel hardware. I like the ebony fingerboard and the triple-ply binding of the Custom Shop Les Paul Custom. I also like--very much--the lighter (Prussian blue) trans-blue finish that is not available as a standard feature for the 2008 five-A Les Paul. I also think that a Les Paul with gold hardware does not maintain its beauty nearly as well as one with nickel hardware does. No offense intended to the guys at the Custom Shop, but I dislike the "vintage" look that gold hardware tends to develop, even if it is cleaned and polished regularly. If I am going to pay $5000-plus for a Custom Shop guitar, I think it reasonable to want it to still be very pretty ten years after date of purchase. Granted, the "vintage look" is all the rage these days, but I am not one to follow trends. Also, nickel hardware is much more elegant on a blue guitar. Thanks for the help. :) --Professor Chaos
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