Weight relived Les Paul article

Re: Weight relived Les Paul article

So, a 1300 guitar with much heavier and denser wood sounds and plays the same as a 2700 guitar with premium woods?
You'll have tio excuse me if I find this typical of anyone who owns a guitar to find it just as good as any otehr guitar ever made.;
No it isn't.

Ha ha no. I didn't say it "plays" the same. I said it sounds the same but a little thinner than my Traditional. I have recorded them both and can't tell the difference since I changed the pickups. My Traditional definitely has a lavish feel. I love the binding and think that the wood breaths a little better, but that doesn't necessarily translate into what you actually hear when you lay down a some tracks. My Traditional definitely "looks" and "plays" better, but they both have an authentic "Les Paul sound."
 
Re: Weight relived Les Paul article

Ha ha no. I didn't say it "plays" the same. I said it sounds the same but a little thinner than my Traditional. I have recorded them both and can't tell the difference since I changed the pickups. My Traditional definitely has a lavish feel. I love the binding and think that the wood breaths a little better, but that doesn't necessarily translate into what you actually hear when you lay down a some tracks. My Traditional definitely "looks" and "plays" better, but they both have an authentic "Les Paul sound."

Your not gonna hear much differecne witha tight high gain amp, which, being "Ubermetal", I guess is what you are playing through.
Only a vintatge style amp with some sag and ol' skool complex and lush tone can let you see there is a huge difference in tone between a sweet expensive Gibson and a Cheaper one.
 
Re: Weight relived Les Paul article

Tone appraisal

You: ol' skool complex and lush
Me: farty and fizzy

Tight, high gain amps don't mask the differences. Your old, drunkass ears just aren't trained to hear it. How's the weather up there on your mountaintop of tone, man?
 
Re: Weight relived Les Paul article

Tone appraisal

You: ol' skool complex and lush
Me: farty and fizzy

Tight, high gain amps don't mask the differences. Your old, drunkass ears just aren't trained to hear it. How's the weather up there on your mountaintop of tone, man?

well, I still think with modern tight high gain amps, most of the sound is the amp itself, and also modern guitars, but with, say, a 65 Bassman, or even a JCM 800, and an older Les Paul standard with lower output pickups, you have more of the true tone of the guitar, and an amp that lets the true tone of the guitar through.
 
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Re: Weight relived Les Paul article

well, I still think with modern tight high gain amps, most of the sound is the amp itself, and also modern guitars, but with, say, a 65 Bassman, or even a JCM 800, and an older Les Paul standard with lower output pickups, you have more of the true tone of the guitar, and an amp that lets the true tone of the guitar through.

Jerry....man you talk a lot of smack like you're an authority on many topics of tone. I want to see a pic of your best guitar and amp.
 
Re: Weight relived Les Paul article

I don't know about Les Pauls, but my favorite Gibson by far is chambered :D

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Re: Weight relived Les Paul article

Jerry....man you talk a lot of smack like you're an authority on many topics of tone. I want to see a pic of your best guitar and amp.

I may say a lot of stupid stuff, but this is just amp/tone 101.
If you donl;t get this, than you arent real well grounded in amps and guitar sound.
Whats not to be fathomed about a 65 blackface and a classic old guitar havinmg more true tone than a new production metal/shed guitar through a tight Mesa Recto, which sound is mainly that of the amplifier itself, and the guitar itslef is just there, of course play fast, but mainly to sound solid enough to support the gain? There sint a whole lot of classic real "Tone " involved , just some high gain grind and tight chug.
 
Re: Weight relived Les Paul article

I may say a lot of stupid stuff, but this is just amp/tone 101.
If you donl;t get this, than you arent real well grounded in amps and guitar sound.
Whats not to be fathomed about a 65 blackface and a classic old guitar havinmg more true tone than a new production metal/shed guitar through a tight Mesa Recto, which sound is mainly that of the amplifier itself, and the guitar itslef is just there, of course play fast, but mainly to sound solid enough to support the gain? There sint a whole lot of classic real "Tone " involved , just some high gain grind and tight chug.

Playing devil's advocate here, so bear with me and don't take it personal.

By who's standards of amp/tone are we talking about?
Yours? What gives you the authority or life experience do you have that puts you in that position?
How much of this equipment do you own?
Have you ever owned a Mesa Boogie? What kind, revision, model?

The thing is, you're arguing something so subjective that it's different from person to person. The fact that you keep bringing up a Mesa for nothing but gain tells me you've never owned one or spent any amount of time with one at all. You are basically parroting what you've read on the net or heard from nu metal recordings. I can tell you from personal experience that nothing you have said about Mesa Boogie coincides with any of the Mesa's I own or have owned.

In fact, I'd put the clean channel of my Tremoverb up against a lot of vintage and modern amps as far as tone goes.
 
Re: Weight relived Les Paul article

I grew up just a hop, skip, and a jump from Kalamazoo, MI when Gibson was located there. My Dad was completely loyal to the Gibson Company and had several mandolins, acoustic guitars, and LP's (early goldtop/P90, and a 70's model with volute neck). When I purchased my '91 LP Studio new, my Dad really wanted to criticize the guitar any way he could - he was extremely pissed off they had recently moved production to Tennessee. After he played the guitar for awhile, his only complaint was that the inlay work on the fretboard wasn't the greatest, and he is correct. The point I want to make is I started learning to play guitar with his instruments, and I know I'm talking years ago, but there wasn't enough difference in weight for me to notice between the 3 guitars. Believe me, if it was heavier than his guitars, he would have pointed that out. According to my digital scale my Studio weighs in at 8lbs 11oz. I do not believe that they were doing any weight relief at this time, but I can't say for sure. While it is my heaviest guitar, the weight doesn't seem all that overbearing.

Sometime later, I wanted to match my Alpine White Studio (now it's more like TV Yellow!!!) with a Black LP Custom. I walked out of the store with a Black PRS Custom 24. There was just no comparison, the PRS smoked the Gibson. I vaguely remember thinking that the Gibson was too heavy. The difference between the PRS and '91 Studio is probably most attributed to scale length and pickups, and there are some mighty fine tonewoods in a PRS.

My conclusion - My Dad was right, Gibson should have stayed in Michigan, renown for its hardwoods and especially its maple. While I've heard many complaints about how the new ones are made, I haven't really seen any issues with construction. I think I must have gotten lucky and that the woods in my Studio were procured while they were still operating in Kalamazoo, and moved it to Tennessee. Maybe someone who was working for Gibson late 80's or early 90's can confirm or deny my suspicions??? Rumor Control has also indicated that the Michigan lumber suppliers Gibson used were ticked off they took the jobs out of the state, and set up some exclusive arrangement with Heritage.

I don't think that a LP made with instrument grade woods needs weight relief. If you want to tune body resonance using chambers or whatever, I can understand that. The weight surely didn't stop people like Pete Townsend from putting on a high energy show, but back then people were in better shape, you actually had to get off your butt to change the TV or radio station. :omg:
 
Re: Weight relived Les Paul article

Playing devil's advocate here, so bear with me and don't take it personal.

By who's standards of amp/tone are we talking about?
Yours? What gives you the authority or life experience do you have that puts you in that position?
How much of this equipment do you own?
Have you ever owned a Mesa Boogie? What kind, revision, model?

The thing is, you're arguing something so subjective that it's different from person to person. The fact that you keep bringing up a Mesa for nothing but gain tells me you've never owned one or spent any amount of time with one at all. You are basically parroting what you've read on the net or heard from nu metal recordings. I can tell you from personal experience that nothing you have said about Mesa Boogie coincides with any of the Mesa's I own or have owned.

In fact, I'd put the clean channel of my Tremoverb up against a lot of vintage and modern amps as far as tone goes.

No man, I mean the Typical recto High gain, not the cleans.
In that circumstance, you are hearing mostly the amp, and it sounds basically the same with any modern metal bucker equppied guitar; those guitars arent made for classic tone either, so they in turn would sound all the same even with a 65 blackface deluxe reverb- "The Grail".
Anyway, What are you talking about, you can't even play guitar, you only have nine effin' fingers!
 
Re: Weight relived Les Paul article

I grew up just a hop, skip, and a jump from Kalamazoo, MI when Gibson was located there. My Dad was completely loyal to the Gibson Company and had several mandolins, acoustic guitars, and LP's (early goldtop/P90, and a 70's model with volute neck). When I purchased my '91 LP Studio new, my Dad really wanted to criticize the guitar any way he could - he was extremely pissed off they had recently moved production to Tennessee. After he played the guitar for awhile, his only complaint was that the inlay work on the fretboard wasn't the greatest, and he is correct. The point I want to make is I started learning to play guitar with his instruments, and I know I'm talking years ago, but there wasn't enough difference in weight for me to notice between the 3 guitars. Believe me, if it was heavier than his guitars, he would have pointed that out. According to my digital scale my Studio weighs in at 8lbs 11oz. I do not believe that they were doing any weight relief at this time, but I can't say for sure. While it is my heaviest guitar, the weight doesn't seem all that overbearing.

Sometime later, I wanted to match my Alpine White Studio (now it's more like TV Yellow!!!) with a Black LP Custom. I walked out of the store with a Black PRS Custom 24. There was just no comparison, the PRS smoked the Gibson. I vaguely remember thinking that the Gibson was too heavy. The difference between the PRS and '91 Studio is probably most attributed to scale length and pickups, and there are some mighty fine tonewoods in a PRS.

My conclusion - My Dad was right, Gibson should have stayed in Michigan, renown for its hardwoods and especially its maple. While I've heard many complaints about how the new ones are made, I haven't really seen any issues with construction. I think I must have gotten lucky and that the woods in my Studio were procured while they were still operating in Kalamazoo, and moved it to Tennessee. Maybe someone who was working for Gibson late 80's or early 90's can confirm or deny my suspicions??? Rumor Control has also indicated that the Michigan lumber suppliers Gibson used were ticked off they took the jobs out of the state, and set up some exclusive arrangement with Heritage.

I don't think that a LP made with instrument grade woods needs weight relief. If you want to tune body resonance using chambers or whatever, I can understand that. The weight surely didn't stop people like Pete Townsend from putting on a high energy show, but back then people were in better shape, you actually had to get off your butt to change the TV or radio station. :omg:


Your dreaming if you think that your 91 Studio was made of woods from the kalamazoo factory. The move was done in 84. No way did they truck 6 years worth of production materials from michigan to tenesee.

The biggest reason for the weight relieving is that the african mahogany is heavier than the honduran mahogany.
 
Re: Weight relived Les Paul article

The thing is, you're arguing something so subjective that it's different from person to person.


And this is the real reason. If there was definitive rules to better and what sounded good and everyone heard things the same this site would have 99% less traffic and would consist of a few stickies. But the subjective nature of it all is why people are willing to argue until their blue in the face over this stuff.
 
Re: Weight relived Les Paul article

In my option the reason why Gibson weight relieves pretty much any Les Paul except most historics is that they buy cheap wood.

Wrong. They still use Honduras Mahogany, the real thing, it isn't cheap to get it legally. They get it from a farm in honduras that complies with renewable resource laws. The reason they weight relieve (which is completely different from chambering) is some people like lighter guitars. That's it. The wood ain't cheap.

PRS et. al., with the exception of a few small luthiers, use fauxhogany, i.e. "african" or "asian" mahogany, which is not mahogany. Guitar makers picked that lie up from the furniture industry, where nothogany is called mahogany because the grain and color are similar. The tone of your kitchen chair doesnt matter. The tone of your guitar does. Fauxhogany doesn't sound terrible, but it sure doesn't sound like real mahogany either. Had lots of both, I've never, ever heard a fauxhogany guitar have the same sound quality that a real mahogany guitar does. It just isn't the same.

Guitar builders should call the wood what it is, i.e. Khaya, Agathis, whatever, not mahogany, but they know most of the public doesn't know better and they also know that when the guitar buying public sees "mahogany" they think classic Gibson tone, though that almost always is not what they are getting nowadays in terms of wood. It is pure marketing BS, designed to mislead.

I can't say for sure, but I doubt that farm in honduras charges any more for a light weight board than a heavier one. Gibson sorts them with the lighter ones generally going to the historics, but the cost of the wood probably does not vary.


I was under the impression that weight relief is a necessary consequence of using denser, heavier African mahogany. The "golden age" LP's were made from lighter Honduran mahogany, thus weight was not really a problem.

Also wrong, see above. For a while in the late 90s/early 2ks, they slid away from using real mahogany. They are back to it. Weight relief existed both before and after the brief fauxhogany era. It actually started before the end of the Norlin era, not in 1990 as someone above claimed.

Side note: It never fails to amuse the sh*t out of me when I see 2003 LPs with braz rosewood boards go for $6k used. That was the fauxhogany era, and while the braz rosewood is a nice touch, the whole guitar was the wrong wood, making a huge upcharge for a small piece of braz rosewood, which is about half plastic inlay anyway, beyond silly.


Old LPs varied in weight from the lighter side to boat anchor. The quote that "old lps were light so they didn't need weight relief" is a complete myth. People didnt complain about weight back then, so they didn't do it.

I have examples of solid, weight relieved, and chambered. I do not hear a difference in tone due to weight relief vs solid. There is a marked difference in tone for chambered, which is essentially a hollow body without F holes, and solid or weight relieved. It is an interesting tone and not bad at all, but also not exactly what you expect from a LP. Whether that is good or bad is subject to taste.

The ONLY solid wood LPs are the historics. Not all of those are solid, they do chambered versions of some because people still complain about the weight, which IMO negates the value of having a historic anyway, but such is the sillyness of the guitar buying public.
 
Re: Weight relived Les Paul article

You should read the sh$tstom this caused on the MLP forum....but thats par for the course there

Honduran mahogany is a common name for a tree that grows in a wide variety of locations. Once one centre of supply has dried up they move to another (see also: ebony).
As anyone with plant knowledge can tell you, the same tree growing in different climates will give a wildly different wood density. The original forests are probably no more, and the newer sourced trees just grow more densely. Pretty simple to see weights go up and tone changes.

The weight relief will change the weight, but won't change the tone to what a 'lighter weight but solid' would be. Thats not really the issue though - modern guitars can't be made exactly the same way as the Holy Grail period and thats that. Its time all the corksniffers accept this as a fact and move on (or find someone to custom make you a guitar with woods of your choice).

edit - the weight relief started in the early to mid 80's AFAIK.
 
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Re: Weight relived Les Paul article

Honduran mahogany is a common name for a tree that grows in a wide variety of locations. Once one centre of supply has dried up they move to another (see also: ebony).
As anyone with plant knowledge can tell you, the same tree growing in different climates will give a wildly different wood density. The original forests are probably no more, and the newer sourced trees just grow more densely. Pretty simple to see weights go up and tone changes.

Correct about the wood, although Gibson actually does get it from Honduras. However the mahoganies grown in Cental/South America and the Caribean, i.e. Swietinia Macrophyla etc., are true mahogany, Khaya, agathis, etc are not.

The quote about density is not only true of wood grown in different countries, it is true of wood from different parts of the same tree, wood from a different part of the same hill even.

The bit about modern wood being more dense is completely false however. Many old LPs weight in at 10lbs and more, many modern solid historics are in the 7 and 8 lbs range, including the one I own.

There were/are varying densities of mahogany, and that can be from two trees that grow within sight of each other, not just from old growth vs. renewable sources, brazil vs. honduras, etc.
 
Re: Weight relived Les Paul article

The weight is certainly variable (having lugged treated pine sleepers for the last 3 days for a job I'm doing I know precisely how much wood varies).

Its also fair to say the weight got steadily heavier on average to the end of the Norlin period for sure......it gets murky after that as Gibson then got into the Re-issue bit full-on, and more historic weight wood became more of a priority to purchase.

Its certainly a great area to discuss and debate, especially as groundbreaking music has been created by instruments of all vintages:approve:
 
Re: Weight relived Les Paul article

And they are. You just have to pay more nowadays for a guitar made with premium wood that does not need to be weight relieved.
After 2005, the premium African Mahogany wood which Gibson then used became cost prohibitive and / or rare to obtain, so they needed at that time to source non- premium less expensive heavier and more dense African mahogany woods for their Standard lines, and hence to weight to relive them to achive acceptable parameters for quality.
To say you dont care if a neck is Ebanol or Ebony / Rosewood or Synthetic, (regardless of whatever moderate price discount ) is Naive at best, and Ignorant at the least.

What I mean is that if I want to buy (for example) a Les Paul Standard or a Les Paul Studio, I'd like there to be two options (well, three, counting color. 1) fat or skinny neck. 2) solid, Swiss cheezededed, or chambered. All would still be Les Paul Standards or Les Paul Studios. IMO there are too many frigging models that vary too much in terms of features. I'd like it if they just give us a handful of base models (Custom, Standard, Studio, Special, Junior, for instance), and offered options on them. I thought it was GREAT when you could pick a '50's or '60's neck on the same model of Les Paul just as easily as picking the color.
 
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Re: Weight relived Les Paul article

I have one of the modern weight-relieved models, Studio Deluxe, and it's almost equally as heavy as my Traditional. I would say that they sound the same except that my Traditional is slightly thicker - but that could very well be the 50's neck as opposed to the 60's neck. I truly can't tell them apart sonically unless they have different pickups.

Yeah for all the bashing let's not forget that the neck plays a major role, too. And Gibson doesn't seem to be interested in superheavy truss rods and the like, so that is good.

spin_doctors_at_gibson said:
It’s just a good thing. It costs us extra time and effort to do it, so we’re not saving anything. It’s an expense on our part, but we feel good about doing it.

Like tc said. If you want us to look more favorable at your actions, don't print deceptive nonsense like this. Your problem is heavy wood. If you are dealing with this problem in a manner that is good for the customer you have every right to brag about it. But this is nonsense.

spin_doctors_at_gibson said:
Les Paul Traditional

It's not, they were solid in the "traditional" period.
 
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Re: Weight relived Les Paul article

So all these picture, the holes for the bridge/tailpiece are for the tailpiece, right?

Am I the only noticing that only in the "traditional" weight relief the TOM will even sit on top of mahogany?
 
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