Gibson.com: Gibson Les Paul Studio Swamp Ash

’50s Rounded Neck Profile

No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional ’50s neck profile—found on the Les Paul Studio—is the thicker, rounder profile, emulating the neck shapes of the iconic 1958 and 1959 Les Paul Standards. The neck is machined in Gibson’s rough mill using wood shapers to make the initial cuts. But once the fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.

Gibson’s 490R and 498T Pickups

The mid to late 1960s saw the emergence of a very different type of music coming from the clubs of England. This new genre’s players were demanding more powerful amplifiers with increased volume outputs to satisfy their sonic explorations. This led to a call for a more versatile pickup, and Gibson answered the call with the 490T and 490R pickups (“T” for treble, and “R” for rhythm), humbuckers with the tonal characteristics of an original PAF, but with a slight increase in upper mid-range response. The Gibson 498T bridge pickup is the 490’s ideal complement. Taking the 490 one step further, the 498 swaps the Alnico II magnet to an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs. The pole pieces on the 498T are also aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.

22-Fret Granadillo Fingerboard

The fingerboard on Gibson’s Les Paul Studio Swamp Ash is constructed from granadillo. Granadillo is non-porous, straight grained, very dense, and has a ringing warm tap tone that is well balanced. The 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates “dead” or “choked out” notes, common occurrences on fingerboards with lesser radiuses.

Traditional Hand-Carved Top and Swamp Ash Body

One of the features that never changes on a Les Paul is the marriage of a hand-carved top and solid wood back, and the Les Paul Swamp Ash Studio is no different. Swamp ash has long been a favorite choice for solid body guitar construction, and the Les Paul Studio offers a unique template to exert the wood’s distinct characteristics. A harder, more uniformly dense wood, swamp ash has huge, open pores with both hard and soft layers within each ring of the tree. Considered very resonant across the entire frequency spectrum, this unique wood allows the Les Paul Swamp Ash Studio to produce clear bell-like highs, distinct mids and robust lows, resulting in one of the more resounding Les Pauls ever built. And like all the woods used by Gibson, each piece of swamp ash is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees, which insures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. Consistent moisture content means that every Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.

Chambered Body

There’s something about playing a guitar with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the Les Paul’s solid mahogany back using a Computer Numeric Controlled (CNC) router before the maple top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.

Features

The Gibson Logo
Angled Headstock
The angled headstock is another example of Gibson’s industry-changing way of thinking. Every Gibson headstock is carved out of the same piece of mahogany as the neck then fitted with Gibson’s traditional wing blocks. It is not a “glued-on” headstock, and the process takes craftsmanship, time, and effort. But the rewards are worth the effort. The headstock is carefully angled at 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain.
Angled Headstock
Adjustable Truss Rod
The adjustable truss rod is a Gibson innovation that revolutionized the guitar. Before this ground-breaking discovery in the early 1920s, the truss rod was used only to strengthen and stabilize the neck. By making it adjustable, the truss rod now allows a guitar to be set up using a variety of string gauges, as well as string heights. This easily accommodates any style of playing, and allows a limitless range of set-up options. And by placing it at the base of the headstock, the adjustable nut is easily accessible, even while the strings are still on the guitar.
Adjustable Truss Rod
’50s Rounded Neck Profile
No guitar neck profiles are more distinguishable than the neck profiles employed on the Gibson models of today. The more traditional ’50s neck profile—found on the Les Paul Studio—is the thicker, rounder profile, emulating the neck shapes of the iconic 1958 and 1959 Les Paul Standards. The neck is machined in Gibson’s rough mill using wood shapers to make the initial cuts. But once the fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.
’50s Rounded Neck Profile
22-Fret Granadillo Fingerboard
The fingerboard on Gibson’s Les Paul Studio Swamp Ash is constructed from granadillo. Granadillo is non-porous, straight grained, very dense, and has a ringing warm tap tone that is well balanced. The 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates “dead” or “choked out” notes, common occurrences on fingerboards with lesser radiuses.
22-Fret Granadillo Fingerboard
Nickel and Silver Alloy Fret Wire
The fret wire on the Gibson models is a combination nickel and silver alloy (approximately 80 percent nickel and 20 percent silver) specifically designed for long life and superior wear. Gibson’s traditional “medium/jumbo” fret wire is first shaped by hand, then cut to an exact 12-inch radius. After hand pressing it into the fingerboard, a machine press finishes the job to eliminate the gap between the bottom of the fret wire and the fingerboard.
Nickel and Silver Alloy Fret Wire
Dot Inlays
The classic dot inlay is one of the most distinguishable features of many traditional Gibson models, including the Les Paul Studio. A figured, swirl acrylic gives these inlays that classic “pearl” look. They are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers.
Dot Inlays
Set-Neck Construction
Like all classic Gibson guitars, the necks on the Les Paul Studios are distinguished by one of the more traditional features that have always set them apart—a glued neck joint. Gluing the neck to the body of the guitar ensures a “wood-to-wood” contact, no air space in the neck cavity, and maximum contact between the neck and body, allowing the neck and body to function as a single unit. The result? Better tone, better sustain, and no loose or misaligned necks.
Set-Neck Construction
Traditional Hand-Carved Top and Swamp Ash Body
One of the features that never changes on a Les Paul is the marriage of a hand-carved top and solid wood back, and the Les Paul Swamp Ash Studio is no different. Swamp ash has long been a favorite choice for solid body guitar construction, and the Les Paul Studio offers a unique template to exert the wood’s distinct characteristics. A harder, more uniformly dense wood, swamp ash has huge, open pores with both hard and soft layers within each ring of the tree. Considered very resonant across the entire frequency spectrum, this unique wood allows the Les Paul Swamp Ash Studio to produce clear bell-like highs, distinct mids and robust lows, resulting in one of the more resounding Les Pauls ever built. And like all the woods used by Gibson, each piece of swamp ash is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees, which insures all woods are dried to a level of “equilibrium,” where the moisture content does not change during the manufacturing process. Consistent moisture content means that every Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Traditional Hand-Carved Top and Swamp Ash Body
Chambered Body
There’s something about playing a guitar with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the Les Paul’s solid mahogany back using a Computer Numeric Controlled (CNC) router before the maple top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.
Chambered Body
GIBSON’S 490R AND 498T PICKUPS
The mid to late 1960s saw the emergence of a very different type of music coming from the clubs of England. This new genre’s players were demanding more powerful amplifiers with increased volume outputs to satisfy their sonic explorations. This led to a call for a more versatile pickup, and Gibson answered the call with the 490T and 490R pickups (“T” for treble, and “R” for rhythm), humbuckers with the tonal characteristics of an original PAF, but with a slight increase in upper mid-range response. The Gibson 498T bridge pickup is the 490’s ideal complement. Taking the 490 one step further, the 498 swaps the Alnico II magnet to an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs. The pole pieces on the 498T are also aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.
GIBSON’S 490R AND 498T PICKUPS
Tune-O-Matic Bridge
The Tune-o-matic bridge was the brainchild of legendary Gibson president Ted McCarty in 1954. At the time, it was a true revelation in intonation, and set a standard for simplicity and functionality that has never been bettered. This pioneering piece of hardware 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. It also yields a great union between the strings and body, which results in excellent tone and sustain. It is combined with a separate “stopbar” tailpiece, essentially a modified version of the earlier wraparound bridge. To this day, the Tune-o-matic remains the industry standard. It is the epitome of form and function in electric guitar bridge design, and is one of the most revered and copied pieces of guitar hardware ever developed.
Tune-O-Matic Bridge
Nitrocellulose Finish
Applying a nitrocellulose finish to any Gibson guitar—including the Les Paul Studio—is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell—as a poly finish does—and allows the wood to breathe and age properly.
Nitrocellulose Finish