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NGD - Les Paul Traditional Pro II - WTF?!

PHILBERT

Active member
Joined
Nov 25, 2006
Messages
1,659
So, a couple of weeks ago I’m killing some time in GC, and I start talking to a guy who is looking for his first nice and cheap Gibson. Not exactly analogous, but we start looking at the bottom of the line and work our way up. There are some nice choices out there these days for under a grand. We get up to the Les Paul Traditional Pro and I start admiring the damn thing. Just for grins I play the thing, and it is very well built, and sounded good acoustically. Then one of the better sales guys in the store tells us about the new Trad Pro II with the boost circuit and push/push pots. Plus, it also has the coil split features. New item...None in stock…yet (bummer). I tell the guy, “that is a good guitar at a good price, but wait for the Pro II”. (he does)

Well, damn! I start to think about these, and the idea of a “tool box” beater Les Paul grows on me. I already have my 50th Anniversary Historic R0 with flame and full gloss finish to die for, and it is loaded with ThroBaks and has all upgraded hardware, but who wants to beat on that investment piece? Not me! So I start looking on the web for a store that has one of these new LPTPII models. Found one with a 60’s neck on the way home from work…great! Stopped in and didn’t expect much. There it was…ugly tobacco with a 60’s neck. Nice guitar, overall, but I’m not sold on the color. Average tone, and even though I’m a slim neck kinda guy, the neck was pretty good. Have another one here I can try?

Uhhhh…Then something happened that changed my life forever. There it was. A used Les Paul Traditional Pro II 50’s neck up on the wall that was a nice cherry burst color. I’m not a fat neck fan, but I’ll give it a go. Looks nice. The darker red color on the back and neck is just gorgeous. The moment I put that thing in my hands, felt the neck, and heard the tone and sustain (acoustically) out of that thing, I KNEW it was something special. It “spoke to me”, but it also felt better than any of my other Gibbys. I played the thing for a couple of hours and then “put it on my Spark card”.

When I got it home, I pre-adjusted the pickup height, and I plugged it into my amp for a proper demo. :wow The earth moved for me. Shit! A few more pickup tweaks and…That’s it! That is the old Les Paul sound that I never thought I could ever own. This is no honeymoon phase, and I am serious about this. No new LP I ever heard made this tinderbox honk. It has that special midrange honk that I have heard all my life (going back to the late 60’s). It’s that dry old wood quality that sounds like the wood would “burst” into flames if it got too close to a heat source. No new Lester I have ever owned, or played, came anywhere close to this. This is a fluke (or is it?). And the neck has this perfect roundness to it that feels like a real ’59 neck. Most comfy neck I have to date. And the radius is different…almost like 13 degrees, or something flatter feeling. Nice rolled edges, too. Fantastic low action like old Gibson guitars. The rosewood on this is awesome! The PLEK is great with no “pinging” in the well-cut nut. And the neck finish (now glossy from being played) feels like golden era finish. None of that plastic feeling crap, and no gummy feel either. No buildup on this finish. How is that possible? Very different from my other Gibbys. I scored a home run!

Here are some obligatory pics (we all love those), and I’ll continue my review after.

gibsonlptpiifrontfullin.jpg


gibsonlptpiifrontbodyto.jpg


gibsonlptpiibackfullind.jpg


gibsonlptpiioutdoorfull.jpg


gibsonlptpiifretboard.jpg


gibsonlptpiioutdoorbody.jpg


It has some nice blistering going on, but the burnt orange color is not as nice as what I would want. Minor thing, but I might see if Kim could do the top to look like this real '60 burst:

beqbyqbmkkgrhqyhdyergnl.jpg


That would be killer! I love that yellow center. I digress...

It came setup to perfection (nice I didn't have to do it) with new GHS strings on it. The sales guy (Russ…good guy…knows his stuff) said he set it up with 10’s. Felt like 9’s to me, but I got some mileage out of them and changed them out to my usual Elixir 10’s. Holy crap!!! :bug Could it get any better? The punch just came up a couple of notches. It is now even better. Perfect balance, and that old type honk is still there in spades, but now with force behind it. It delivers 200%. After a complete setup, I start to evaluate the coil splits and boost circuit. Here are my thoughts about the electronics:

The Classic 57 and Super 57 pickups sound great! Will I try my ThroBaks in this guitar? Yes, I think so…just for shits and giggles. The bloom may come in time with age on the 57’s. I’m starting to hear that on my older guitars loaded with 57’s. Besides, good is good. How much better could it be?

The coil taps were originally set up to keep the inside coils active while grounding out the outside coils. Do I like that sound? Not especially. Maybe on the bridge pickup, but I wanted to try reversing that, so I did. The red wires now go to ground and the black wires to the pots. Big difference! It can approach the Strat neck tone…now. The single coil bridge tone is a bit thin. I think I want to put another push/push pot on the bridge pickup (tone control location) to reverse it back for the other tone option. Come to think of it, this will give me an “out of phase” option when using both pickups together. (Trad Pro III ?) I will try this soon and report back.

My amp and effects rig has more gain then I will ever need, so the boost circuit really was not something I needed, but why not if it is included? Might be useful for sitting in on some gigs with dull sounding generic run-of-the-mill modern Marshall amps (laughs). This circuit is actually pretty neat. I do find it useful. You have to adjust the trim pot inside the control cavity to balance the tone some. Too low and you lose bass. Too high and it turns to mush. Somewhere in between you get a full low end with a bit more crunch bite, and that is where I find it beneficial. Now the classic LP tone turns to metal crunch tone with extra gain. Cool!

Another plus is that I don’t have to change out the tone caps. It looks like they used tantalum “blue drop” caps, and they sound great. Little suckers, but I couldn’t improve that tone at all. I can even get some thick Reverend Billy juice going when dialed back to about 5 or 6, or so. Good choice, Gibson!

The pots are not the best (a little loose), but get the job done. Does CTS make push/push pots? I doubt it. The volume pots kick in some good LP tone when dialed back, and at full volume the tone is wide open. I like 8.25 volume or so on the lead pickup for mid gain and tone. Dimed, I like between 7.5 and 9.0 on tone, but the crunch is amazing with everything open. The tone balance of this guitar is as good as it gets. I have never had one this perfect. No tone holes, odd peaks or defects!

There is one more thing I want to do to this guitar to make it the ultimate tool box. Some are going to hate what I’m about to say. Can you guess what it is? :hmm




































Yes…a robot tuner. I have a generation 1 Tronical system on my V, and it is a bit slow, but the new Min-ETune system is smaller and loads much faster. I watched the YT vids on this new system and I like the way it advances a rough estimate into the next tuning selection before you even strum a note for fine-tuning. Much better than the older system. With the solid 50’s neck on this guitar I think the different tunings will work fine without the neck relief going too far out.

In conclusion, this may not look like an exact recreation of a ’59 Les Paul, but it sounds like a real one to me. I don’t understand it. No long neck tenon, two piece back (9 ½ pounds…weight relieved?), and chrome Nashville bridge plus standard zamack tailpiece. This is not vintage hardware! But who cares? The locking Grovers look nice and work very well, and the guitar build quality is flawless. Gibson must have taken note here and started doing it right. Maybe they used hot hide glue or a non-condom truss rod…or something. Whatever happened here, it works! And the price was less then $2K. Since mine was used, I basically stole it at much less than that. But sorry…this is not going to be beat on! With the Min-ETune installed it will be a workhorse, though. One of two or three I would take to gigs, and probably #1 if I didn’t need a whammy bar.

Go try one of these if you get the chance. It’s a good choice with a lot of features that make a good Les Paul even better. It’s a no-brainer. Gibson did this one right.

PS – One point of contention: Why can’t I find the specs on Gibson’s web site. Info on the build is scarce on the net. It would be nice to know ALL of the details.
 
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shred

Well-known member
Joined
Nov 13, 2003
Messages
4,667
Congrats, and great review... The Zebras look awesome too :dude:

It's good to know you don't have to break the bank to get a killer LP. Congrats :salude
 

PHILBERT

Active member
Joined
Nov 25, 2006
Messages
1,659
Congrats, and great review... The Zebras look awesome too :dude:

It's good to know you don't have to break the bank to get a killer LP. Congrats :salude

Thanks, Shred. I would never think this would ever sound this good. It just makes no sense. For all we know about construction and materials, this should not happen! :biggrin:

This has to be made of "Godwood" or something. :rofl

:salude
 

JJC

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Feb 25, 2008
Messages
1,027
I like the review (and the guitar) - but don't mess with it too much, you might lose the magic!
 

PHILBERT

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Nov 25, 2006
Messages
1,659
I like the review (and the guitar) - but don't mess with it too much, you might lose the magic!

:laugh2: Good advice! I know what you mean. Can't leave well enough alone.

The only thing I want for it is that Min-ETune system. $349 plus shipping from Europe is a bit much. I think I'll wait until they sell them in the States. Maybe I'll buy an LP Future in black, rob the tuner system, and sell it on the Bay as a Goth guitar.

Cheers! :salude
 

D'Mule

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Apr 5, 2003
Messages
4,621
Great review! Happy to hear about great modern guitars coming out of the USA factory.
 

PHILBERT

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Nov 25, 2006
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1,659
Thanks, guys. :salude

I can't stop playing this thing! And I'm sooo tired. I'm now playing while sleeping. :yawn

Cheers!
 

papersoul

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Dec 20, 2003
Messages
3,066
I have always avoided the Les Paul Traditional Pro because of the thin 60s neck. Are you saying they make a Les Paul Traditional Pro II with 50s neck?
 
K

Kim R

Guest
It's the sound that brings us back, not the specs.

Great job!
 

PHILBERT

Active member
Joined
Nov 25, 2006
Messages
1,659
I have always avoided the Les Paul Traditional Pro because of the thin 60s neck. Are you saying they make a Les Paul Traditional Pro II with 50s neck?

Yes Sir, they do. And it has a really nice feel to it. It is substantial, but to a thin neck guy like me it's round and comfy. Go try one! I think you will like it. :bike
 

PHILBERT

Active member
Joined
Nov 25, 2006
Messages
1,659
It's the sound that brings us back, not the specs.

Great job!

Boy, is that the truth, Kim. I feel like I came full circle on this whole Custom shop and USA thing. Who cares where it was made? A good guitar is a good guitar! :jim
 

thunderkyss

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Joined
Nov 1, 2002
Messages
743
glad you like your new guitar.

I'm a fan of big necks.... that's where the tone is.
 

Stoj

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Joined
Oct 6, 2006
Messages
3,514
Congrats Philbert, she sure has a great looking top :salude
 

PHILBERT

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Joined
Nov 25, 2006
Messages
1,659
Thanks, thunderkyss. This is a great neck carve. Feels perfect.

And thanks, Stoj. This top came with an apparition. I just noticed it this morning. I was joking with Vintage 58 about it because his came with one too. Check this out. It's possessed! :bat

demonburst.jpg


demonburstclosesmaller.jpg


Looks like a demon or some sort of gargoyle, or something. :wah
 
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K

Kim R

Guest
:rolleyes: Sorry, the iPad died....

Anyway,

Overall instrument design yields fairly predictable sonic results, e.g. Stratocasters, Tele's, Ric's, Les Paul's. All of us could separate clips from these guitars pretty easily; some are skilled enough to name the Gretch's too.

I think that pursuit of the classic "flavors" of electric guitar morphed into a fixation upon detail over detail within these guitar families, and that subsequently became part of the "reissue" fascination - which doesn't necessarily address tone as much as it focusses on materials and specifications.

Each to their own, but for me it's the sound of the electric guitar that became preeminent in the 50's, 60's, and 70's that defines the value of today's guitars. If an instrument can produce that sound when in the right hands, it's the right instrument. If not, lacquer, glue, and carve are left to those who appreciate design over function (which is okay too, but it's not the same thing).

Edit: Yes, the two are related but not to the extent that we might insist they are. I am equally guilty..

Great thread, IMO-
 
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PHILBERT

Active member
Joined
Nov 25, 2006
Messages
1,659
:rolleyes: Sorry, the iPad died....

Anyway,

Overall instrument design yields fairly predictable sonic results, e.g. Stratocasters, Tele's, Ric's, Les Paul's. All of us could separate clips from these guitars pretty easily; some are skilled enough to name the Gretch's too.

I think that pursuit of the classic "flavors" of electric guitar morphed into a fixation upon detail over detail within these guitar families, and that subsequently became part of the "reissue" fascination - which doesn't necessarily address tone as much as it focusses on materials and specifications.

Each to their own, but for me it's the sound of the electric guitar that became preeminent in the 50's, 60's, and 70's that defines the value of today's guitars. If an instrument can produce that sound when in the right hands, it's the right instrument. If not, lacquer, glue, and carve are left to those who appreciate design over function (which is okay too, but it's not the same thing).

Edit: Yes, the two are related but not to the extent that we might insist they are. I am equally guilty..

Great thread, IMO-

True. To me, the whole reissue thing is about the cost of vintage. Would I have a vintage collection if I could afford it? YES! But even vintage guitars have duds and winners. So, I think it is really about something you like when all the parts and pieces make that tone you have lusted for all those years. Not every one is going to "hit the spot". And we learned what we liked by hearing "the masters" that made these models iconic. To that end, this is what drives the market. But is every slap-together guitar in the same basic shape going to nail those tones? I don't think so. Somewhere along the line you need quality materials and construction, and that is where (I think) the obsession comes from with exact re-creations.

As far as my best guitars, most of them are under $2K, but specific choices were made to, hopefully, yield good tone. My Tele is a light swamp ash, Made in Korea, Fender with a birdseye maple neck. Not the best action (could be fixed), but drop in a set of inexpensive "top of the line" GFS pickups and it is everything a great Tele is about. Stunning tone, and great combo tones too. That said, I have tried many that miss the mark. BTW, I heard a few amateur Strat and Tele GFS demos on YouTube that made my jaw drop. Yeah...that's the classic sound. Their single coil pickups are VERY good, and won't break the bank.

Another "cheapy" that is one of the most toneful and sparkly guitars in my collection is a $600 Les Paul Special Doublecut (yellow) with new P90's. This guitar always amazes me. It has body and great honkin' mids, but the "splash" and "bloom" (now that it has aged some) blows me away. I will NEVER give this one up.

Although my ES339 is not exactly what I expected, as I think it is a tad too bright, I find this to be a great "indy" type guitar. You can twist the dials and get the most unique tones out of this guitar. There are many different tones you can get with it. It is a great compliment to my Tele and my LPSDC in a recording. And it is old enough now that the bloom effect is starting to come out. Nothing like good old degaussed (spelling?) magnets for bloom!

So I am pretty happy with my collection of cheap (mid level) guitars. All I need is a good 335, which I do want to be very close to the "real deal" early 60's examples, and then maybe an EDS1275 for the Page songs that justify it. Do I have some I keep but don't use much? Yes, like my Jackson RR1 that is so perfect in build quality, and looks sooo cool. Doesn't sound all that full, though. I wish the wood was better. And I have an Explorer that is stock and a bit "wide" sonically, but someday I plan to "goth" it and put some EMG's in it...for that type of sound. Oh...and I still need my idea of the perfect Martin D45, which has to be the dream sound I have in my head (Neil Young influence up there :laugh2: ). I tried one years ago made of Madi and Italian Alpine Spruce that just blew my mind. :wow That was "the one" for me, but I didn't have $6K+ at the time. I should have sold my car for that guitar! :doh I may never find another one like it again...and the price keeps going up on them. The Rosewood from India just doesn't do it for me. Again...The quality wood makes the difference.

Cheers! :salude
 

Pat Boyack

Well-known member
Joined
Oct 19, 2011
Messages
4,510
I don't know if this is the case for your guitar but a buddy of mine was doing warranty work on a Traditional and after a number of calls to Gibson about the split coil not working he found out that they don't split at all. Their so called "split coil" is actually a capacitor that just changes the sound. Too funny.
 
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