Gibson Les Paul Traditional Pro Iv Electric Guitar Wine Red Review
Our Verdict
Whether you plump for the high-gloss or satin option, these Les Pauls offer a very respectable range of archetype tones, and a playability that is hard to quit.
For
- They are both neat-sounding Les Pauls.
- Both play well and feature a ton of sounds.
- The Pro Five is a proficient weight.
Confronting
- None, except the toggle switch had a tendency to slip out of the neck position (Gibson will replace at no charge).
- The Satin model is quite heavy.
The Traditional Pro V is the fifth and latest model in a line of Les Pauls that have been developed over the years by Gibson and Guitar Center, and are therefore available only from those companies. Information technology'south the near avant-garde model thus far and is designed to bring exceptional versatility and playability to this carved-top classic.
The Trad Pro V (as information technology'southward labeled on the truss-rod cover) is available in 2 distinct finishes: gloss lacquer over a striped maple top in Done Carmine Burst or Huckleberry Burst, or equally the Trad Pro V Satin, which wears a matte end over a plainly maple summit in Satin Iced Tea or Satin Wine Scarlet.
Otherwise, these Les Pauls are identically equipped, and since Gibson thoughtfully sent united states both versions to check out, we'll make comparisons as needed to bespeak out where they differ in other areas besides finishes. A skillful place to start is the cost. The Pro V Satin comes in at $i,900 versus $2,799 for the Pro V – a whopping $899 departure.
Both models have an asymmetric neck profile developed by Gibson and Guitar Center that's a little meatier on the bass side for a super comfortable fit in the hand. Coupled with a rosewood fretboard that varies in radius from 10 to xvi inches to facilitate fingering notes high upward the neck, the playing feel is very pleasing.
The 22 "modern" frets are well dressed and crowned, and the cream binding is trimmed over their tips for a hitchless ride forth the neck. The Graph Tech Nubone basics are likewise carefully worked and neatly shaped – a small detail, only one that's important to making the guitars feel inspiring to play.
On both models you tin can notice a transition line betwixt the neck and fretboard, but information technology was quite a bit more than noticeable on both sides of the Pro V Satin'southward neck. The factory setups are quite good – the action low, still costless of fret fizz, and the intonation about boilerplate.
It could probably be tweaked a flake closer to ideal by a good tech. Grover chrome-plated locking tuners turn hands and keep the pitch stable when bending strings.
Both guitars accept weight-reduction holes within (9 total), and it paid off more in our gloss Trad Pro V, which weighed 7.26 pounds compared to ix.0 pounds for the Pro Five Satin. That's a difference you can really feel when hanging these guitars on a strap, and information technology points to the value of trying these guitars out and so you can compare them and pick one that's lite and feels right. Cosmetically, both models are knockouts.
Our Done Cherry Burst Pro V is awesome-looking with its striped maple top that looks 3-D under the crystal-clear topcoat, just the Wine Red Pro V Satin looks pretty sweet, as well, and its thin, tactile finish gives it a cleaved-in experience that's sort of like well-worn Levi's or leather.
The cream body binding on both guitars is cleanly executed, although for some reason I could detect more height difference betwixt the binding and the mahogany back on the Pro 5 Satin.
The Traditional Pro Five models conduct uncovered zebra Gibson Tradbucker pickups that have alnico V magnets and distinct outputs, courtesy of existence underwound in the neck position and overwound at the bridge.
Simply it's in the electronics section that these guitars differ significantly from other Les Pauls, and the passive HP-four High Functioning Excursion is a real boon here, as it provides a number of means to configure the pickups via push-pull pots on all the controls.
Here'due south how they operate:
• Pulling the neck-pickup volume knob either splits or taps the coils
• Pulling the bridge-pickup volume knob either splits or taps the coils
• Pulling the cervix-pickup tone knob selects the out-of-phase setting
• Pulling the bridge-pickup tone knob up selects the pickups' outer coils
Furthermore, an internal DIP switch with five on/off positions makes information technology possible to select split- or tapped-scroll wiring for the two humbuckers, which does brand quite a difference in how they audio. The output is lower and the tone more unmarried-coil similar in split way, whereas the output is greater and the sound is fuller and somewhat hollower in tapped mode.
Both modes are useful, depending on what you're later, still, I constitute the other three switch settings to be much more subtle. Y'all become a selection of high-pass filter on/off for the two pickups, as well every bit a "transient excursion" on/off, but toggling them didn't seem to make much divergence sound-wise, and Gibson doesn't explain them from a functionality standpoint either.
Taking off the cover plate lets yous fully appreciate the engineering science within the control crenel, which is extremely tidy cheers to the use of excursion boards to minimize wire runs and ataxia.
Tested with a Fender Deluxe Reverb, an former Marshall PA20 (through a Bogner 1x12), and a Mesa/Boogie Marker 5: 25 1x10 philharmonic – along with a pick of overdrive pedals from Hermida, MXR, and Way Huge – the Trad Pro Vs showed their stuff by providing a trove of absurd sounds.
With the push-pull pots downwards and the pickups in total 'bucker mode, the Pro Five sounds, non surprisingly, like a expert Les Paul, offering clear, robust cleans and fat OD tones from the Tradbucker pickups, which are well tailored output-wise for their respective positions and provide nice detail and complexity at all volume settings.
Information technology's worth noting that slight differences between the Pro V and Pro V Satin were noticeable, and the heavier Satin actually sounded more acoustically resonant and felt more vibrational (probably due to its thinner stop), and this carried over in some degree to the amplified realm.
That said, the Pro Vs are both exemplary when driving into a gained-up amp or baloney box for killer dejection and rock lead tones, and of course they take great natural sustain courtesy of the maple/mahogany construction and stone-solid Tune-o-matic bridge/aluminum tail.
Getting into the divide-whorl or tapped sounds (or a mix of both, depending on how the DIP switches are set) yields skinnier sounds that are cool for slinky rhythm and lead tones whenever a "single-scroll" flavour is desirable, and by putting the pickups out of phase you can too get funky, Strat-similar sounds that are pretty neat to accept on a dual-humbucker guitar.
There are enough more means to shape these sounds by selecting the pickups' inner or outer coils, and/or by running one pickup in dissever/tapped manner and the other full humbucking. In brusk, there are tons of possibilities to explore with this model, which makes it a lot of fun, while taking things to places where a Les Paul doesn't unremarkably go.
In that light, the Traditional Pro V guitars strike a practiced balance betwixt staying truthful to the class and offering alternative sounds that possibly fifty-fifty Les himself could have appreciated.
Certainly, the Pro 5 isn't equally adventurous as the Les Paul Personal, Professional, or Recording models of the 1970s – nor is it intended to exist – but this new model is enticing and inspiring, and could exist a consideration for anyone who already has their ultimate 'Burst or Gold Tiptop and wants something different in the guise of a super-flexible working guitar that'southward still a Les Paul through and through.
Specifications
- Les Paul Traditional Pro Five
- PRICE: $2,799, hardshell case, strap and multi-tool included
- NUT WIDTH: one.69", Graph Tech Nubone
- Neck: Mahogany
- FRETBOARD: Rosewood, 24.75" calibration, compound radius (10"-16"), trapezoid inlays
- FRETS: 22 modern
- TUNERS: Grover locking
- Trunk: Mahogany with flame-maple top, weight relief (9 holes)
- BRIDGE: Nashville Tune-o-matic with aluminum tailpiece
- PICKUPS: Gibson Tradbuckers. Underwound offset gyre vintage-style with alnico Five magnets (cervix). Overwound offset curlicue vintage-style with alnico Five magnets (bridge)
- CONTROLS: Ii volume (both push button-pull), two tone (both push button-pull), 3-manner switch
- EXTRAS: Special electronics that provide carve up-coil, tapped, and out-of-stage wiring for the two humbuckers
- FACTORY STRINGS: Gibson Vintage Reissue nickel .010–.046
- WEIGHT: 7.26 lbs (as tested)
- BUILT: USA
- CONTACT: Gibson
- Les Paul Traditional Pro Five Satin
- Cost: $1,900, hardshell example, strap and multi-tool included
- NUT WIDTH: ane.69", Graph Tech Nubone
- NECK: Mahogany
- FRETBOARD: Rosewood, 24.75" scale, compound radius (10"–16"), trapezoid inlays
- FRETS: 22 modern
- TUNERS: Grover locking
- BODY: Mahogany with plain-maple top, weight relief (9 holes)
- BRIDGE: Nashville Tune-o-matic with aluminum tailpiece
- PICKUPS: Gibson Tradbuckers. Underwound offset whorl vintage-style with alnico V magnets (neck). Overwound offset coil vintage-manner with alnico V magnets (span)
- CONTROLS: Two volume (both push-pull), two tone (both push-pull), 3-mode switch
- EXTRAS: Special electronics that provide split-coil, tapped and out-of-stage wiring for the two humbuckers
- FACTORY STRINGS: Gibson Vintage Reissue nickel .010–.046
- WEIGHT: 9.0 lbs (every bit tested)
- Built: Usa
Source: https://www.guitarplayer.com/reviews/gibson-les-paul-traditional-pro-v-and-pro-v-satin-review
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