The Burstbucker Pros take very well to that classic seventies/eighties school of arena rock esque tones and when you give 'em the juice, it is a glorious wonder! I wouldn't say that the sound of this guitar is overly versatile. I've tried this guitar through many different amps and to me, the solid mahogany construction sings best when plugged into a high gain British voiced amp such as a Marshall or Orange. the LP into a Marshall is the pinnacle of rock guitar tone. turn every control to ten, plug into a good tube Marshall and hit an open A chord and it will sound amazing.
Getting a good tone out of this guitar is dead simple. However, this guitar bucks a little bit of that because of the chambered body that it features (something Gibson has started doing as of 2006 to it's LP guitars) as well as the thin finish that makes the feel a bit faster. The design of the Les Paul was never one that I'd have considered ergonomic at all, because of it's rather clunky/limited upper fret access, the heavier weight, the single cutaway, and the fact it only has 22 frets. It's made in the USA and features a mahogany body and neck with a rosewood fretboard, Kluson tuners, tune-o-matic bridge and stopbar tailpiece, and a pair of Gibson Burstbucker Pro humbuckers. Often Gibsons feel glossy and sticky after hours of play, but that's not the case with this guitar. It is more satin in the feel so it is a bit slicker and faster to play and hold in my experience. What it offers differently is that the finish is not shiny and glossy using many buffed out coats of nitro lacquer, but rather it just uses pore filler and a couple of thin coats applied over top of it to provide a thinner "faded" finish. The Gibson Les Paul Studio Faded was designed as a slightly lower market version of their famed Les Paul Studio model.
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