Introduced in 1983, the Les Paul Studio ($1,700 MSRP) was designed to be a modestly priced alternative to the high-ticket Standards and Custom-Shop Les Pauls favored by rock stars and the more well-heeled among us. Gibson realized that many less-affluent players would love to own a Les Paul, but most of the models were out of their price range. To fill that need, the company removed some of the frills that drove up the cost of producing a high-end guitar, while retaining all the elements that make it desirable as a musical instrument. The continued availability of the Studio model is proof that Gibson succeeded.

Although neck and body binding, as well as fancy flame tops, make for a pretty instrument, they add nothing to the playability or tone of a guitar. Instead, the Studio model includes elements that contributed to the legendary sound of the original Les Paul—a maple top and solid mahogany back, a Tune-O-Matic bridge, Kluson-style tuners, trapezoid inlays, an adjustable truss rod, an angled headstock, set-neck construction, and genuine humbucker pickups.

In addition, Gibson kept some of the labor-intensive features of the higher priced instruments that you’d think would be the first to go in a less expensive version. Previous budget-models, like the early Juniors and Specials and, later, the Paul and Firebrand, eliminated the time-consuming carved top. Fortunately, it has been retained on the Les Paul Studio, in all its sensuous glory.

Each of the four available finishes—Ebony, Wine Red, Classic White, and Fireburst (pictured)—is applied by hand in a process that employs several coats. And, rather than reduce expenses by shooting a polyurethane finish, it is astounding that Gibson opts for the normally pricey nitrocellulose. The company notes that a nitrocellulose finish helps a guitar sound better over time, because the finish is porous and thins as the instrument ages, allowing the wood to “breathe.”

In another nod to the build quality of the coveted classic Les Pauls of yore, every Les Paul Studio neck is finished by hand—including the sanding. Consequently each neck is subtly different, but it will have the characteristic shape of the Les Paul Standards from the late 1950s that players love—thick and round, with a 12-inch radius. The 22-fret fingerboard is rosewood on the Ebony, Wine Red, and Fireburst models, while the Classic White instrument has an ebony fretboard.

Sound chambers are routed into the solid mahogany back before the maple top is attached—another feature that should make the Les Paul Studio more expensive than it is. Gibson based the position and shape of the chambers on the overall resonance of the wood. The result is a guitar that is acoustically louder, with increased resonance. In addition, the chambers eliminate a common objection players have to wielding a Les Paul on four- and five-set gigs—the weight. The hollowed out body means less stress on your back and shoulders over the course of a marathon gig.

The Pickup Line
The Studio model sports the same type of pickups as the fancier Gibsons—the spawn of the Burstbucker series that was developed to emulate the sound of the collectible PAF [Patent Applied For] models. The new pickups are potted in wax, eliminating any air space inside and mitigating microphonic feedback.

The 498T bridge pickup is designed to hint at the tonal characteristics of an original PAF, but with a hotter output and a subtle boost in the upper mid-range. This is achieved by using Alnico V magnets, rather than the Alnico II’s in the 490 model. In addition, the pole pieces on the 498T are aligned a little further apart, matching the distances between strings at the bridge, which is wider than at the neck position.

Studying The Studio
The review instrument was an ebony Les Paul Studio. At first glance, its shiny black finish looks striking—no worries about color coordinating your stage outfit. Closer examination reveals the nitrocellulose finish to be already sinking into the grain, which, along with eventual checking, is typical of this type of finish and will add a vintage look to the guitar as it ages. Less desirable was the slight “orange-peel” effect on this particular instrument, though at any kind of distance it disappears.

Strapping on the Studio produced a sigh of relief at the minimal weight. This particular version of the classic neck shape fit my hand quite nicely. Sliding into notes was easy and bending was a dream thanks to well finished frets—no fretting out or buzzing.

A quick strum revealed a loud and mellifluous ring—all of this well before plugging the instrument in. The lack of solid mass may diminish the sustain a tad, but not enough to cause major worry. Acoustically the maple top provided a bit more snap than the all-mahogany Les Paul Studio Worn model [add link to this review]. This was tempered by the chambers, which made the overall sound somewhat warmer than a completely solid mahogany-backed, maple-topped guitar.

The instrument resonated nicely in tune—no dissonant overtones—and was well intonated at the bridge. Tuning up would have been easier, however, if the nut didn’t have a tendency to catch the E, B, and G strings.

Rockin’ In The Inexpensive World
I tested the Les Paul Studio through a vintage Alamo tube amp, and with Egnater Rebel 30 and Orange Tiny Terror heads driving a 12" Eminence Texas Heat speaker in a custom-built cabinet.

Plugging the Studio in largely reinforced my acoustic impressions. The bridge and neck pickups were perfectly balanced, displaying plenty of presence without any harsh edges. Firing up the Egnater’s clean channel, the combination chimed like Quasimodo at the Notre Dame. Cranking the Tiny Terror into crunch mode and switching to the bridge pickup shook me all night long as I did my best Angus Young. The neck pickup provided enough bite for blues, as well as sufficient fullness and warmth for jazz even through the 8-inch speaker of the Alamo.

Extra kudos to the person responsible for the design of the Studio-series electrical harness. The guitar tone stays virtually constant as you roll off either the neck or bridge volume controls: There is no loss of highs or thinning out. The taper of the volume controls is perfect as well, rolling off quicker at the top of the range to facilitate speedy level adjustments, as well as tonal shifts when both pickups are employed.

This is not to say that the volume level drops off quickly then remains relatively unchanged, which can happen with some pots: There is still plenty of obvious difference as the volume is lowered. The tone pots are properly voiced as well, providing the classic “woman tone” with ease.

Should You Studio?
Although Gibson touts the Les Paul Studio as more suitable for recording or home use than touring, this guitar seems sturdy enough for use by the most seasoned road dog.

Consequently, the instrument will suit players who fall into any or all of the following categories: those who want the classic sound but are a little light in the wallet; those who already have an expensive Les Paul but need a backup for when they break a string; those who have back or age issues and need an guitar that doesn’t stress the shoulders; or those who want to take a great sounding, fully playable Les Paul on the road while they leave the collectible version at home. This should cover enough musicians to keep the Studio Series in the Gibson line for a long time to come.

Pros: Many high-end Les Paul features despite lower cost. Lighter weight. Vintage neck shape. Excellent sound quality. Well built.
Cons: Slight orange-peel effect on the finish.

Michael Ross in a New York City-based guitarist/producer/music journalist. He contributes articles to Guitar Player, Premier Guitar, Guitar Edge, EQ, Sound On Sound, and Gearwire.com. He is the author of the Hal Leonard books Getting Great Guitar Sounds and All About Effects.