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Gibson Les Paul Studio 1950's Tribute Electric Guitar
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The 1950s Tribute electric guitar consists of a basic Gibson Les Paul chassis with all the essential elements needed to rock, including a tight-grain...Click To Read More About This Product
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Offers up breathtaking Les Paul performance in a modern, no-frills package.
The 1950s Tribute electric guitar consists of a basic Gibson Les Paul chassis with all the essential elements needed to rock, including a tight-grained "bookmatched" maple top that fits snugly on a two-piece mahogany body. This wood combination yields a specific yet versatile tone that many guitarists have come to demand. The one-piece mahogany neck has Gibson's traditional rounded profile, which graces the neck of each Gibson Les Paul Studio 1950s Tribute, emulates the neck shapes of the iconic Les Paul Standards of the late 1950s. Rosewood fingerboards and trapezoid inlays have been a mainstay feature on Gibson Les Paul guitars ever since the model's introduction in the 1950s. The resilience of dense and durable rosewood makes these fingerboards extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. Additionally, the 12-inch radius of the Gibson Les Paul Studio's fingerboard provides smooth note bending capabilities and eliminates "dead" or "choked out" notes. The traditional trapezoid inlays are made of figured acrylic, and offer a classic "pearl" look.
The headstock of the Gibson Les Paul Studio 1950s Tribute is equipped with Grover Kluson style green keys. With a gear ratio of 14:1, these tuners deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. The Gibson Les Paul's Tune-O-Matic bridge, sets a standard for simplicity and functionality that has never been bettered. The Tune-O-Matic 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.
Both the neck and bridge position pickups are equipped with cream-colored screaming single-coil P-90 pickups. The P-90 was the standard pickup on all Gibson guitars in the late 1940s and into the 1950s and because of its crisp, bright tone it has experienced resurgence in popularity with many of today's modern rockers. These classic Gibson guitar pickups deliver sizzling, slightly gritty midrange roar. You'll find that the P-90s' high output and biting treble has more nuanced harmonic coloring than the typical single-coil pickup.
The Gibson Les Paul Studio 1950s Tribute guitar has a finish that looks a little used, and has a smooth, worn look to it, which lets you see and feel the wood grain's natural beauty. Comes with a durable Gibson gig bag.
Model name: Gibson Les Paul Studio 1950s Tribute Electric Guitar
Model number: LPST50WGCH1
Body style: single-cutaway carved top Les Paul
Top wood: maple
Body wood: mahogany
Finish: worn nitrocellulose lacquer
Headstock Inlay: Gibson Logo
Silkscreen: Gibson Logo + Les Paul Model
Truss Rod: Gibson Adjustable Truss Rod
Truss Rod: Cover Bell-shaped cover, stamped "Studio"
Neck profile: '50s
Neck joint: set
Fingerboard inlays: figured acrylic trapezoids
Hardware plating: Chrome
Tuners: Grover Kluson style green keys
Pickups: Gibson P90 with cream covers
Pickup selector: 3-way
Controls: volume, volume, tone, tone
Knobs: cream top hats with silver inserts
Case: Gibson deluxe gig bag
Scale length: 24-3/4"
Fingerboard radius: 12"
Number of frets: 22
Nut Width: 1.67
Reviewed by 7 customers
Displaying reviews 1-7
I normally play in the areas posh Country Clubs and Banquet Halls, with my 5 pc band. I enjoy using a high end Gibson at these gigs, after all the band often plays in tuxedos.I lately booked a number of outside concerts, and felt I didnt want to subject an expensive instrument it South West Florida's damp night air.I figured for the price I'd try this guitar. After all, It's still a Gibson Les Paul, and I wanted the p90 pickups for that early rock'n Roll sound. I'm very pleased with the instrument, and other than the non glossy finish, don't see much difference from this to the other Les Paul models at 3 times the price..... The Gibson Gig Bag that comes with it is not really of the quality I'd want to cary my guitar in. Since Les Paul shape so comon, may I suggest you buy any of the available hard cases and be ahead of the game.
I received my Les Paul'50s Tribute last week, and I can't put it down. I had initially ordered the Worn Cherry Sunburst model, but after waiting nearly two months, I switched it to Worn Ebony, as that was in stock. I'm so glad I did. The cream P-90s, pick guard and toggle ring look awesome against the black finish. And sound? Amazing! The P-90s roar when they're wide open, and clean up beautifully when they're turned down. At about the 3/4 mark, they have just enough grit. The set up right out of the box was spot on. A quick tune up and I was ready to go. The '50s tribute weighs substantially less than most Les Pauls as well, which makes playing three-set gigs a breeze. This is due to the chambered body, which really increases sustain. I've been running mine through a Music Man RD50, with a Basson 1 x 12 extension cab. The sound is beautiful. The guys in my band absolutely love the way it blends with the rest of the instruments, yet is distinct in the mix. This is my fifth Les Paul, and I have a feeling it's destined to become my favorite. My only complaint - and this has absolutely nothing to do with the guitar - is the gig bag which is included. I have other Gibson gig bags, and this one is sub-par by comparison. Do yourself a favor and get a hardshell case. I picked up a Musician's Gear Les Paul case for fifty bucks, and it does the trick. Grab one of these before Gibson either raises the price, or decides this is a limited run. Great look, great sound and great value.
What a great guitar! The P-90's can do anything. The bridge pup can be sparkling clean and the neck can deliver a fantastic warm fuzzy overdrive. For me the neck and fret setup is perfect. It is not a slim 60's nor a R8 chunk but just right. I have never been a big fan of the Gibson medium jumbo frets and this 50's Tribute feels like it is wired with something in between that and skinny vintage. One persons first reaction on looking at my Gold Top?s finish was ?did they spray it on using a spray can?? The top finsh does has a slight paint stipple to it, as if the paint had not completely leveled out. However, it grows on you quickly and definitely has that worn in vintage vibe. All the finishes I have seen have a consistent corner bout rub/fade mark so I think it captures the look that Gibson was going for. This is not meant to be a glossy or super flame topped LP (nor is it 2K+). I was a bit concerned about how the fit and finish would be, mine was made after the big flood, wondering if Gibson was going to ?kick ?em out the door? to get caught up. However, the fit and finish on mine was impeccable with a well matched three piece back (I have seen pictures tho of 50's Tributes with ugly five piece backs - yikes!). A light, looks great, and play?s even better, USA made Gibson with P-90's for under a grand! What more could you ask for?
This guitar has the feel of of the 2k plus les pauls. The neck has a nice rounded feel but not like a baseball bat, just right. The single coils really can bark, and clean up nicely as you would expect. I play through a mesa express and get great old time rock and roll 70's rock and enough bite for some 90's grunge. I love this guitar.
my fiance bought this guitar for me 4 weeks ago for my birthday. i can say, since i've had it, i havent been able to put it down!!! i own some ibanez guitars (solid, hollow and acoustic), a modded strat and now this lester!! i was on the market for a studio or maybe a used standard or studio with coil taps but when i saw this one on the gibson website, i immediately began to do some research. i went to a local music shop to see if i could play one before i made my purchase but they didnt have any in stock so i picked up a les paul jr. with a single p-90, plugged into a marshall haze 40 and thought WOW! if this thing sounds this awesome with only one pick up... what would it sound like with 2 ??? this guitar is super light for a les paul due to the body being chambered also leading to LOTS of sustain! i have the worn honey burst model and i get complements on the sound and looks of this guitar. only problem i have (not a big deal) is the little rough patch in the finish on about the 10th fret. easy fix without sending it back.. i dont want to let it out of my sigh.. even if it was to go back to gibson! :) I play through a fender twin w/ reverb and tremolo, vox vt30, and a line 6 flex tone. this guitar clean, sounds heavenly, very defined .. and OMG when the gain is cranked up.. you wont want to put this guitar down!! :) i play blues, rock, gospel, alternative, punk, i dont play metal but with my vox or line 6, i can get some sick metal tones. this guitar on ebay goes for way more than i payed for it.. so its already become an investment even though i never plan on getting rid of this thing!! thanks for reading!
I just received my goldtop last week.The workmanship is flawless. Hooray to the Gibson luthers..The guitar unamplified has a great acoustic sound. Pump up the volume and the P90s smoke.This is a nice companion to my 1973 les paul deluxe goldtop. Gibson has hit a homerun. I feel very fortunate to own this one.
I took delivery of a 50s Tribute Worn Goldtop about a month ago, have played it most every day since, and played it in anger through a JCM 800 halfstack with a band for 3 hours recently. Preliminarily, this guitar is sweet: sounds so good (P-90s snarl), now I know how the pros achieve such great tone. Action is fantastic right out of the box, and it looks gorgeous. I've Fender, PRS and Ibanez electrics, and rate this LP highest: it feels like the perfect guitar.Attention to detail is another matter. These guitars must have been assembled by Gibson's "B" team.The first Tribute I received had a very dark fretboard, with what appeared to be a red stain or drip, which ran from the fourth fret on the treble side of the fretboard, right down to the last fret. It was actually coloration in the wood itself, but looked for all the world like red paint dripped down the fretboard. The dealer swapped for another.There were, however, several issues with the next one, which I kept anyway. The mahogany back is made from 3 dissimilar grains of wood. The G and B strings "pinged" through the nut when tuning. The truss rod cover is mounted off-center. The gold paint around the bass-side body hole where the stopbar tailpiece screws into a countersunk receptacle is flaking. There was a wood shaving rattling around inside the control knob cavity.Does all that diminsh my enjoyment of the guitar. Not really, because it is far superior in feel, looks and tone to most other guitars. Let we forget, the street price is ridiculously low for an American or imported high end guitar. Played through a Marshall rig, the sound is sheer rock 'n roll, snarling dog, grab-you-by-the-throat.