Here's a rundown on the Gibsons I've owned. Not trying to convince anyone of anything about them, and no second-hand depictions or hyperbole.
I've said this on here a million times, by my '62 LP/SG was built with either the bridge mounted too far forward, or the neck glued in the wrong spot. When the joint let loose (sitting safely in its case) and it took a trip to the luthier, he ended up putting a nearly half-inch thick chunk of mahogany in to make it play in tune for the first time ever.
The $10k Gibson Master Model F5 mandolin I owned sounded pretty good, played pretty good, and had the absolute sloppiest half-ass finish job on the top underneath the fretboard extension. Was it relevant to the functionality of the instrument? Obviously not, but it sold for ten-thousand freaking dollars. Maybe do as good of a job as Northfield does on a $2900 instrument?
My Les Paul Studio is incredible, and I can't get over how much I love it. From the factory, it came with the wrong pickups and controls. It's getting new pickups and point-to-point wiring, plus I'm going to replace the switch cover and jack plate (both cracked when I was removing them). Once it has the right pickups, you'll never hear me gripe about it again.
The earlier LP Studio I had prior to that was a freaking boat anchor (the newer one is under 8 pounds). Aside from the absurd weight, there was nothing really wrong with it, but I have zero regrets swapping it for an LTD M-1000.
Prior to that, I had a Melody Maker, can't remember what year, but sometime from the early-mid 2000s. I'm aware it was by far the cheapest MIA Gibson you could get, and it showed in spades. Whatever the hell the paint was felt sludgey and was obviously not very even. The fingerboard was noticeably narrower than the neck, perhaps from the thick blue sludge. I remember next to nothing else about it, and it was the first Gibson I owned.
My mid-60's SJ is fantastic, no complaints... except that my Eastman AC420 was like $600, has a more full tone and is significantly louder. If you're trying to play with an acoustic ensemble, those last two things really, really matter.