Musician's Friend | 8 years ago
For more info: http://www.musiciansfriend.com/guitars/gibson-les-paul-traditional-pro-iv-electric-guitar?source=3GOA6FRB
If you’re looking to get more control of your sound, but want to keep things simple, meet the Gibson Les Paul Traditional Pro IV. It has the appearance and comfort of a traditional-looking and great-playing guitar, but with some very clever and useful push-pull electronics onboard.
It features the classic tonewood combination of a mahogany body and maple top, along with a set mahogany neck. The “Vintage C” neck profile is easy to love and makes playing a pure pleasure.
What sets the Les Paul Tradtional Pro IV apart are its pickups and controls. We’ve got a ’57 Classic at the neck, and a Super ’57 at the bridge for authentic PAF tones. You’ll find all the great historic tones using just the three-way switch.
Here’s where the electronics add more versatility. Each volume control’s push/push pot engages coil-splitting for that pickup. The bridge tone control push/push selects which pickup coil is being split. The neck tone push/push gives a 10 decibel gain boost, ideal for lead work.
Its high quality chrome hardware is just what you’d expect from a Gibson guitar of this caliber. You’ve got a tune-o-matic bridge with stopbar tailpiece for simplified string changes and adjustment, and Grover locking tuners to keep your tuning rock solid.
So there you have it. Complete with hardshell case, the Gibson Les Paul Traditional Pro IV is made for the stage, giving you unmatched control of your sound.
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This guitar was played out of the box with factory strings, no additional set-up and no audio post production. The track was finished without any kind of EQ or compression.
Signal chain used on this guitar:
Cables: Mogami
Amp: Friedman Brown Eye 100W 2-Channel Tube Guitar Head
Mics: Shure SM57 & Neumann U87Ai
Link to Amp: http://www.musiciansfriend.com/amplifiers-effects/friedman-brown-eye-100w-2-channel-tube-guitar-head?source=3GOA6FRB
Recorded at Musician’s Friend in March 2017.
