Gibson Les Paul Studio

2006 Les Paul Studio - Ebony Finish, Chrome Hardware, 22 Frets, Two Tone, Two Volume, Originally with 490R & 498T Gibson pickups (I replaced them with Dimarzio Tone Zone and Dimarzio Air Norton - bridge and neck respectively), trapezoid inlays, etc. It's very functional and doesn't have a lot of visual flair, which is exactly what I wanted. I'm going to have to take a point off for the toggle switch though, and I'll explain why. When I first decided to purchase the Les Paul, I did so because of the weight of the guitar (I like something solid and heavy that won't move around too much when I get really into playing a solo) and the way the neck felt. This is approximately my tenth guitar over a period of about six years, and most of my previous axes have been guitars that have the toggle switch located near the tone and volume controls. While I initially liked the toggle switch located on the upper horn of the body, I found that every now and again it gets in the way when I'm doing two handed tapping near the upper frets on the lower strings. Other than that, feature-wise, I've got absolutely no complaints about this guitar. It's a wonderful instrument in that aspect.

The stock pickups were decent, but it wasn't the exact tone I'm looking for. Note that I said earlier that I bought the guitar for the weight and feel of it, not the tone, so I had already planned on replacing the pickups after purchasing the guitar itself. The Gibson pickups that were in it before would be great for classic rock and hard rock, but I needed something a little hotter at that I could use for instrumental guitar rock and metal, but wasn't so overbearing as to cause the instrument to lose its character. I opted for a Dimarzio Tone Zone at the bridge and an Air Norton at the neck, and now I couldn't be happier with the sound. I'm running this guitar through a Line 6 PODxt Live and a Tech 21 Power Engine 60 (Daisy Chained) and it sounds absolutely incredible. I haven't had any noise issues with it, and because of the Dimarzio pickups, it matches more styles with a bit more ease than with the stock pickups that couldn't.

The guitar was already set-up and ready to go once I purchased it, but I had it restrung and set-up at the Guitar Center in Oxford Valley, Pennsylvania with a different gauge of strings. The tuning machines work very well, and I rarely have to retune the guitar, even after playing hard for an hour or so. After proper intonation and set-up, everything is peachy.

Well, I'm not able to speak too loud on its reliability as of yet, seeing as I've only had it for a few months. I've seen Les Pauls that have been around for 40+ years, so I'm going to take a leap of faith and say that they are reliable guitars. I replaced the strap buttons the same day I bought the guitar with strap locks for that extra bit of security. Would I use it on a gig without a backup? Hell yes. The chance of something this big and heavy breaking down on me at a gig is almost nil. If it's good enough for Zakk Wylde and the many other guitarists that use them, it's good enough for me.

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I've been playing for about nine years now. I started off with a Yamaha Strat clone, on to an old Charvel, then a Jackson Kelly with EMG 81s, then a Washburn Dime 332, a Jackson V, a cheap Squier Strat for a travel guitar, an ESP LTD EC-400, an Ibanez RG1570, a Hamer Sunburst Archtop, a PRS CE24, then this Les Paul. And those are all in chronological order.
I've gone through a number of amps ranging from the cheap Yamaha one, a little 2x10 Marshall solid-state, a Johnson JT-50 Mirage, a Fender Hot Rod Deluxe, and now a Tech 21 Power Engine 60 Daisy Chain.
I've gone through too many effects pedals to remember them all. Some of them were a Korg AX1500G, all kinds of BOSS pedals, and now my Line6 PODxt Live floorboard and Morley Bad Horsie 2 Wah pedal.
My favorite feature of the Les Paul is the way it feels in my hands. It doesn't move around a whole lot when you play it because of the weight, making it very easy to achieve a very wide and accurate vibrato. I also love the sustain that it has, which I'm sure is because of the weight. The neck feels fabulous compared to the thin necks that most of my previous guitars had. It doesn't choke in the upper register, which is something that I've had a problem with in some of the less expensive guitars that I've owned before. If it were stolen or lost (I hope this never happens, knock on wood) I would definitely buy another one. I'd have to save up for a month or two, but it's worth it. When I bought this, it was a decision between this guitar and an Ibanez JS 1000, but the JS was too light and I wasn't digging that. I'm happy with my choice.

490r 498t, gold plated gibson hardware, cherry finish, 2006

awsome full rich les paul sound, good clean and sounds even better as the distortion increases

Gold hardware, See through cherry finish

i dont think i will even need to worry about reliability

Awsome guitar, Looks better than it sounds and it sounds amazing.

Brand new made in 2005 (by the way, all models made from 2005 have a 9 digit serial number).
Same specs as everyone elses. I got the Alpine White finish with Gold hardware and a pick guard. very nice and classy!

I compared the studio with the standard.
Standard feels a bit heavier, and all other differences seems to be cosmetic. I dont think the the price difference can be justified in terms of quality (playability), so id advise people to go with a studio and save yourselves some money as theyre both pretty much the same. (in fact i think the pick ups on the studio are better)

came with a Gibson hardcase... im sure the hardcase will do the job, but i was expecting something stronger. while the interior padding is brilliant.

thats it... one guitar, one hardcase and a Gibson owners manual.

Being a fender telecaster only player, the first thing i noticed about Gibsons LPs was the shorter scale making it easier to play. So this is nice if youre someone how does a lot of bends, hammer ons, and pull offs.

I dont have a musical style, instead i enjoy playing everything. (jazz, blues, the 70s zeppelin guitar rock, rock n roll, country, funk, and maybe some metal now and then)
I have to say the LP studio handles all this easily! it really is a versatile guitar. The only thing i dont think it excels in is fingerstyle pieces, those seem to come off a bit dull.

this is my first gibson, and i just love the rich fat sound of this guitar!

action was good and the neck was ruler straight.The gold hardware is nice and solid, i cant complain.

The frets however had this red waxy stuff on the sides of them, and sometimes on the fingerboard. Now im one of those players who just plays the guitars... i dont know anything about them, so i guess this waxy stuff was some kind of adhesive for holding in the frets?
Anyway, even though this waxy stuff came off with a rub, i feel that a guitar in this price range should come out of the factory in perfect condition.

the finish...
its nice and even, however on the back theres a black mark which seems to be inside the finish (so im guessing a piece of dirt or something got stuck in the spraying process).
Also on the side of the guitar theres a very faint mark which looks like a water stain, which again is inside the finish.
Again, for a guitar at this price range, i expect them to be perfect, and since my guitar has a white finish, these marks are very obvious.

so problem with the finish, and red stuff over the frets gives this category a 5

Solid as a rock!
the fact that its so heavy really does make you think its indestructible.
apart from what i mentioned above, there really is no major problems with this guitar.
tuners are tight!
hardware are nice!
the ebony fingerboard feels great!
input jack nice and tight, just the way i like them!

the pick guard seems a bit weak though. It seems like putting any real pressure on it would make it crack.

sent an email asking why my guitar has a nine digit serial number rather than eight.
CS emailed back within the hour, explaining why, and telling me how to read it.
Great!

Brilliant.
I would HAVE to replace this if i lost or broke it.

My guitar arsenal now consists of a Fender 52RI Tele and a Les Paul Studio. In my opinion thats all you need for any type of music.

Same as a Standard, except without binding or inlaid logo. Different pickups now that Standards have BurstBuckers. Wine Red with an Ebony fingerboard and chrome hardware. 1992. One piece back.

Simply incredible. Rich and thick, unending sustain. Bridge pickup(498T) is one of my absolute favorite pickups. It is warm with distortion with just enough bite. Clean it has a nice punch and can get a lot of good clean sounds(some even bordering on Tele like).The neck pickup(490R) is warmer and not bad for jazzy stuff, but its not as good as the bridge. The ebony fingerboard provides more snap and a sharper attack than rosewood.

I don't know what it was like from the factory, but it is the best playing guitar in my house. Bends are fluid and you can really fly on the fretboard.

Very solid. The only weakspot is that infamous Gibson neck heel.

Haven't dealt with them.

Look for early 90's Studios. Back then they were made the same as Standards. Not anymore. This one isn't really heavy which is nice. A pretty versatile instrument. This one probably has a wider range of sounds than my American Series Strat.

My guitar is a 1997. Gibson Les Paul, wine red. Body is carved maple top and mahagony back, neck is a glued in mahagony with rosewood fretboard. It is 24,75 scale neck with 22 frets. It is a two humbucker guitar with 2 volume and two tone controls, 3 way toggle switch, tune o matic with stop tailpiece, and vintage Gibson Deluxe tuners. It`s basicaly classic Les Paul type guitar with no binding on it, slightly thiner maple top and not a perfect handcraft. Hardware on this one is all Schaller, gold. I replaced bridge pick up with EMG 81, and will soon replace neck pup with EMG 85. I like two hums, mahagony, fixed bridge guitars, so I`ll rate it max.

I play metal hardcore, and this guitars suites my playing perfectly. I replaced bridge with a EMG 81, because the original 498T Gibson pickup is great pickup, but just not defined and focused enough on high gain settings, and detuned (I play in C# G# C# F# A# D# tuning). Soon, I`ll replace neck 490R Gibson pickup with EMG 85, but till then, this part of review is about guitar with bridge pick up only. I play this guitar straight through Marshall 2104 Master volume combo 50 watts all tube amp with 2x Rola Celestion G12M Greenbacks, and it compements each other perfectly. When play on drive (as I mostly do) power chords, single note riffs, full chords, they all sound awesome! Full, rich, rounded, strong on low end, focused in midrange and sweet in high end, sound is absolutely alive and inspiring. Leads are searing, vicious and will cut trough mix without any trouble, unwanter feedback, microphonics or any sound bleed. Clean, bridge pickup is, I must say, a little harsh and nasty, but for clean I play neck pick up or both selected. I do my cleans by backing off volume on my guitar, I don`t like crystal clean tone, not from Les Paul, for that use Telecaster on Vox or Fender amp.
Gibson pick ups, 498T and 490R, are great in my opinion for classic rock, hard rock or 80`s metal. Also, played through a fine, sophisticated low gain amp, this guitar with stock pups can not be beat for blues, soft rock or pop. For jazz, I`d prefer semi-hollow full bodied guitars.
Soundwise, with slight amp tweaking, you will be able to get sound of LP standard, LP Custom Black Beauty from this LP studio without a problem, cause no matter what other guitar "freaks" tell you, this is Les Paul and after all, is a great guitar with lots of cool sounds.

I got this guitar used, and when I bought it, frets were very damaged, cause the guy who originally bought it played 80% of time on 5th, 6th and 7th fret. Don`t ask me, I really don`t know why... After refretting it, setting action lower, and setting it up for my tunning, playibility become perfect. The only finish things that are wrong are little more finish on the neck meets body parts, as well as the dot over the i letter in Gibson is closer to the G. This things do not bug me, because I`m not a finish geek, and guitars plays and sounds beatifully so I don`t even notice slight incorections in finish.

Strap buttons are awfull! Change them, or use strap locks! As a playing instrument, this LP is very reliable on the stage and in the studio. I carry Jackson JDX94 for both me and other guitarist in the band for back up, but we never used it on stage, luckily! There is a thing that bugs me a lot. The D string breaks much more frequently than the oyher strings, much much more. It breaks on the same spot every time - on the bridge. I know it is a Schaller bridge, and it is very good, but I think that it`s probably dameged on the D string holder, so I will have to fix it or change the hole tune o matic bridge.

Never dealt with Gibson.

I`ve been laying for 11 years now. Half of that time I played classic music, ofcourse on classic (in my case German) guitars. I starter playing electric guitars 7 years ago. I oowned 6 guitars and this one is the best. If it were missing, I will try do buy LP standard, but it is much more expansive, so I`d probably end up with studio again. Honestly, I adore this guitar, it makes me happy every time a play it, on every rehersal, every gig and I`m blown away by it sound every time I record music in studio. For me, this is the one...

2003 Gibson Les Paul Studio, 22 frets... You know, standard Gibson stuff. Tune O Matic bridge, standard tulip type tuners, etc. Stock 490R/T series pickups. Chunky neck profile w/a nice glop of leftover goo at the neck meets body heel. Finished in black.

I play through a tube Carvin 2x12 amp, w/EQ, Marshall Guv'nor for a distortion pedal. Pretty simple setup. Nothing fancy.
Ok, first off let me say, I REALLY REALLY wanted to like this guitar. It's always nice to add a Les Paul to your arsenal. I bought this guitar w/a very open mind. In all fairness, I prefer Telecaster tone to a humbucker but wanted a guitar I could play on some songs that require high gain w/o the single-coil hum. Anyway, I don't know if the person who wound these pickups were drunk/half asleep or both but this guitar sounds like $%^&. Pure and simple. There is a pronouced microphonic whistle from the bridge p/u whenever you apply any real volume, so you have to cut the volume at the guitar which takes any 'drive' from the tone and weakens the output considerably. I took this baby to a guitar tech to rewire the pups, and still the same problem. So, the output on the pickup (bridge) is fully out of control. Probably 20k ohms or so. At lower volumes, it sounds pretty decent but pup's have way too much midrange 'nasaly' tone. They don't sing, they kind of growl. So, if you're buying a bone-stock LP Studio, plan on (IMHO) replacing the pickups. The stock ones are cheap and $%^&*(.

Setup was decent when I got it. A little too high for my tastes, but that acceptable. A little tweaking of the truss/bridge and it was better. Frets are a bit too big for my taste too, but you can get used to that. It does play fast now. I did buy this thing used. The only finish annoyance was overspray at the neck heel. The little 'lip' that is prevalent on glued-necks was basically filled in w/finish. No big deal, just a detail. Electronics seem decent. Problem w/Gibsons is that volume-wise they seem happiest in 'full on' condition. There's not a lot of volume play w/the pots they use. Turning it down even just a little takes away any 'crunch' or sparkle it might have. Also, typical Les Paul 'unbalanced' play and a bit too heavy, but yes, I know it's a Les Paul.

I dunno, seems solid enough. I wouldn't want to drop it though and bust the neck or headstock. Kindling wood time

Don't know, never had to deal w/Gibson.

Overall rating, a 5. You can get much more guitar for the money, these days. The typical complaints about a Les Paul are still there. It's nicely made, but not too well designed, in my opinion. There's a lot of unused 'mass' with this guitar, seeing as though it has a top-mounted tailpiece and the strings don't route thru the body, whats all the bulk for? And, again, in MY opinion, it is one of the crappiest sounding guitars I've heard. There's no 'sparkle' or 'shimmer' but a somewhat dull, muddled, midrangy blah. I found myself constantly trying to turn the tone pot past it's max point to get some more tone.

1996 ebony, well worn and beat up, but not abused and fully functional. You know the features, configuration, etc.

I play vintage bar stuff, and my inspirations tend toward the full-bodied sound of Cream Clapton, Dickie Betts, Santana. Obviously the Les Paul is the tool for the job. I use a couple of simple effects occasionally, but the essence of my sound is the guitar and amp.

After more than three decades of off and on pro playing, this is my first Paul. I have used solid body Hawks--midrangey 2 pick up mahogany slabs--over the past eight years, and various strats, teles, SGs, Firebirds, Silvertones, and whatevers. This animal, with its maple cap is different, and it is also new to me as I have had very few guitars with 4 knobs and the toggle in the upper bout.

It is taking a while to get the hang of operating it, but I am beginning to see the advantages of the control set up and it is not proving difficult. It is also revealing some interesting tone options that were not available with the one vol one town Hawks. On the down side, I cannot easily dial in an equal blend of both pickups unless they are both up all the way. Ah well, you can't have it all.

As everyone knows, Les Pauls have a signature sound, and to some degree, you sound like it, it doesn't sound like you. So of course I have spent a lot of time researching pickup alternative, even though the stock ones tend to do every thing I ask of them. I figure if I went with something different, I might gain something but lose something else. I have also spent a lot of hours getting the thing to interact properly with my JCM 800 head and my 2 v30 closed back Avatar cab. The problem is a lot of bass boom with the rhythm pickup if it is not adjusted properly, and more brightness compared to my Hawks. And the bridge pickup as well needs to be set just so. The guitar is extremely sensitive to very small adjustments--pickup bobbin height as well as pickup height. The good news is that if you are patient, you can dial it in. The other good news is that the sensitivity (much of which comes from the maple cap) picks up licks from my left hand and pick colorations from my right hand that my Hawks never heard. This is very cool and makes me feel (and maybe sound) like a better player. Oddly, my Hawks with 490r's front and back, put out more signal, though with fewer frequencies. The Studio has less volume but tons more bottom end and brightness.

Finally, I don't know how the Studio line compares with the rather expensive Standards or other models. I considered a three pickup all mahogany Custom, but they are a bit difficult to find, and obviously a little difficult to compare with other guitars in your average noisy guitar store. You have to drag the thing home and live with it for a while and adjust it to your liking. As far as I can tell, it sounds like a Les Paul, and others posting here seem to feel the same.

I bought it quite used and that works for me. My stuff gets nicked up in a hurry, so I'd rather have the discount price and all the functionality without the heartache. I do my own set up and so far, so good.

I was told the previous owner had recorded four CDs with it, and it sure looks like it has seen a lot of bar wars. It is a 1996, and the pots are a tiny bit scratchy, much of the gold is gone or nasty green, and some of the finish is either nicked off or worn off. I do not care. I put on the large t-shape nylon strap buttons sold by Warmoth, which work quite well as an alternative to strap locks. I always bring spare amps and guitars. I play in trios, and there can be no downtime if a string breaks.

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I have been playing since 1968, but am still trying to perfect the obsolete, chasing good tone and worthwhile licks. I have had a lot of gear. Now I keep a few decent amps and guitars that help me sound good--I don't have the collection fetish and I am hopelessly old-fashioned. My favorite sounds are usually just guitar and amp, though live I'll use a bit of delay, chorus, phase, overdrive--a 70's approach that still gets the job done.

This is a consummate working guitarist's tool, not a showboat, and not a one-trick firecracker. There are plenty of guitars out there, but few of them are the musical instrument that the Les Paul is. But not everyone wants to be musical, do they? Like other people who have commented on this guitar, I also wish it had coil taps or similar options to get a few more sounds out of it. And yes, the stock tuners (in combination with a somewhat sticky nut) leave a bit to be desired. And Gibson gold hardware finish is laughable. But I would definitely buy another if this were stolen, and I think I would enjoy trying out other models in the line. I would not be surprised if I could not find a better sound or value than a Studio.

Built in November 2004 in Nashville Tennessee U.S.A.
An ebony 22 fret with two volume and two tone controls along with the three-way switch.
Neck pickup 490R Alnico magnet humbucker and bridge pickup 498T Alnico magnet humbucker.
Carved maple top and mahogany back. Mahogany neck with rosewood fingerboard with pearloid trapezoid inlays and '59 Les Paul Rounded profile.
Gold Harware with Green Key tuners, Black Speed knobs and Tune-o-matic bridge and stopbar tailpiece.
Comes with a premium case.
All you'd expect...exactly the features that make it what it is although I am not sold on the Green Key tuners...they seem to be a possible weakness on this beautiful work of art.

Full and fat tone with all settings though a little meaner in the treble setting with all tones and volumes maxed. It can clean up quite nicely with backed off volume varied tone positions and in the neck position. It sounds good through a solid state amp but really makes itself known through a tube amp (like any guitar should).
There is what I'd call a slight loss of articulation when it is maxed out on high gain but the pickups do have a little bit of a 'retro-lean' to them. It is not a concern unles you are playing some of the 'shredder' styles. Very versatile overall.

Nice low action and no buzzing. There was not an Epiphone in the 10 or so that I tried that day that even came close to this guitar(or any of the other Gibsons I tried that day for that matter). The ebony finish is deep and black and I really couldn't find a blemish or an overlooked finish element on the entire guitar.

I have no plans to use it in a live setting but I certainly see no reason why it would not be a worthy guitar for live performances (once again...aside from the tuners). None of the finish on any part of the guitar seems lacklustre and the construction seems to be very solid.

No reason to contact thus far. One year warranty. I feel for an instrument of this quality and price that the warranty should be longer. I remember Yamaha used to give a lifetime warranty on their acoustic guitars (maybe they still go) as do many companies. Minus 2 for that short warranty. Kudos to Long&McQuade for saying "bring it in after a couple of months and the tech will check it out and make sure everything is working well".

I have been playing guitar for 22 years now and am primarily a singer/songwriter. I have a 1987 Kramer Pacer Deluxe, the Les Paul Studio that this review is based upon an old (almost 40) Yamaha acoustic, an old Washburn electric, a La Patrie Etude classical an Ibanez bass, and a beautiful handmade Morgan Mahogany Dread. I have also owned in the past a little Fender acoustic and a nice Takamine 12 string 400s (both sold/traded) along with a 60 watt s.s. Crate amp and a 100 watt s.s. Traynor amp. I still own a Marshall Master Reverb 30 s.s. amp, a 100 watt s.s. KMD amp and an all tube Traynor YCV40 WR.
If it were stolen or lost I would definitely replace it with another Gibson...I wanted one since I was a kid. I tried a bunch of Gibsons and a bunch of Epiphones the day I bought this guitar and the Epiphones (as I have said before) were not even close. I chose the Studio over the fancier Standards and Customs due to the file marks I could see on all of the bound fingerboards and whatnot...also with no difference in feel (maybe the Studio felt a bit better as did the Smartwood) and me being a 'classic' kind of guy when it comes to style the choice was simple.

2004 Gibson Les Paul Studio made in Nashville, TN. Anybody readinig this should know the specs, so I won't bore anybody. If you want to know the specific specs, log onto Gibson.com. Highlight the text on the page, as it is black text on a black background, and in-depth specs will appear before your eyes. The wine red finish is stunning- I also recommed one of those ebony, inlaid pickguards available on eBay for around $50. NOTE: This guitar uses the same pickups as the Les Paul Custom and Les Paul Supreme, but not the Standard.

The Les Paul Model is ausome! I play mainly jazz, but use this guitar for situations requiring a high-quality, versatile electric, and for the occasional rock and roll/ blues jam. Not to say that the LP can't do jazz- it's great for all styles, but will never match the mellow tone of an archtop. I stock it with D'Addario XL's in 10. The tone ranges from very sharp, hard-rock on the treble setting to a good blues sound in the middle to an equally good jazz tone in the rhythm.
This guitar has a very fast action when properly set-up. Believe me when I say that you don't know how well you play until you pick up a Les Paul!
I play through a Fender Hot Rod Deluxe amplifier, which I highly recommend for any jazz player, and a Fender 12X10 solid state combo amp with built in head for all other purposes than jazz and blues. Through either amplifier, the LP Studio performs remarkably. I've also played many Les Paul Standards and Classics, and can say that the Studio is every bit as well-sounding a guitar as its more expensive counterparts.

The guitar played great from the get-go. Only minor adjustments had to be made to get it to its optimal playing condition (a quarter turn of the truss rod, lowering the bridge a tad bit). The pickups did not have to be adjusted at all, which is definetally a plus. The neck on my Les Paul is very fast, buzz-free, and straight as an arrow. I could not be more pleased!

I have been playing this guitar for about 2 years now, and I can say that the LP is rock solid. Take care of the nitrocellulose finish, as it does have a tendency to ding. I have done many gigs with this guitar and no backup, because it is so reliable.

If you're interested in buying a Les Paul Studio, settle for no less than the Gibson. The Epiphone LP's aren't nearly as good as this axe; you'll thank yourself every time you sit down to play. I've been playing for nine years, and am 17 years of age. I've attended college music programs for jazz guitar, and will minor in music when I continue my education. Guitar is the love of my life- seldom a day goes by in which I don't play! This guitar exceeds all my expectations from a guitar- if I lost it, or it was stolen, I would replace it without a second of doubt. This is a guitar to last a lifetime, by one of the best companies ever to make guitars.

Used 2001 Fireburst. Stock with the exception of Planet Waves locking tuners.

Sounds like an LP, which is why I bought it! Using it with a Mesa F50 and Woodcross Bluesbuster Supreme SE (Plexi-style, single-ended 6-15W tube amp depending on power tube used). The pickups are hot...hotter than anything else I've got...which is nice for the Woodcross which is only a medium gain amp.

Action was great...had to actually raise it a bit as it was fretting out when bending the high E around the 12th fret. Top is nicely bookmatched. Finish was probably fine from the factory. I had to ues some Meguiars Paint Cleaner and Polish to get out some small spots where some kind of mist/spray had eaten into the lacquer. Didn't get them out completely (yet), but cleared up some haze and really made the finish pretty nice, now...apart from some belt buckle rash on the back (what kind of idiot shells out $1300 for a guitar and then lets his belt muck up the back?!) Unfortunately the back is painted, but you can't have everything when you're on a budget!

No probs here that I foresee!

Don't know

I've been playing for about 20 years, but only bought my own electric about 8 years ago. I also have a Charvel Surfcaster and a Fender MIM Strat. If I had lots of cash I would probably buy a nice new LP Standard with a cool flame top and heritage cherry burst finish. But I don't, so this will suit me just fine! Had a local dealer keep his eyes out for a nice used Studio with a burst finish and this is what he came up with. Apart from the buckle rash and finish issues I mentioned, it's in excellent condition. If anything were to happen to it, I would definitely replace it with another LP of some kind.