#1
I've been wondering whether I should buy a Gibson Les Paul Studio Satin/Faded guitar or a Gibson Les Paul Studio '60s Satin. They're the exact same guitar but one has the classic ’60s neck profile and the other has the '50s rounded neck profile. I have small hands (but not tiny) so which would be better? It would also be great if someone posts pictures of both neck profiles side to side.

P.S: I would go out and try them but there aren't any Gibson dealers in my country.
Last edited by musicdementia at Feb 16, 2013,
#2
It depends on what is right for you. Sounds obvious and unhelpful but just because you have small hands doesn't mean that there is a neck out there that would be better for you than another.
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#3
Here:





The 60's neck would be at the bottom and the 50's neck would be in the middle.


I would try them out in the store if possible and see which one you prefer. The 59 neck isn't exactly as huge people make it out to be so you might like it.
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#4
Are those the exact neck sizes? Or is it just an estimation of the difference? I would try them out too; but since there aren't any Gibson dealers in my country, I unfortunately can't.

Quote by H4T3BR33D3R
Here:




The 60's neck would be at the bottom and the 50's neck would be in the middle.

I would try them out in the store if possible and see which one you prefer. The 59 neck isn't exactly as huge people make it out to be so you might like it.
#5
Quote by H4T3BR33D3R

I would try them out in the store if possible and see which one you prefer. The 59 neck isn't exactly as huge people make it out to be so you might like it.


Yep, it's really comfortable and not a baseball bat at all. I really like the feel on my LP Studio. However, the 60's neck also feels really nice for my hand, I just prefer this one a bit more over it.
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#6
Get out there & try them.

I have the LP faded brown with the 50s neck & I love it. My hands aren't huge but I'd rather have that neck than a thinner one.

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#8
The things I heard about the baseball 50's neck, i thought it would be huge. When i tried it i was really suprised. Extremely comfortable. I prefer it to the 60's neck.
#9
There is no such thing as an exact neck size when it comes to Gibson. Their necks are first shaped by machine but then finished off by hand, so each one is slightly different. in fact, they can vary a lot. I've played '50s' necks that were thinner than most 60s and '60s' ones that were thicker than most 50s.

This is the main reason why you should never buy a Gibson base don its spec and you should never buy one online. Go to a shop, play some. When you find one that feels right to your hand, buy that one, right there. You can pick up four of the exact same model of Gibson and they will all feel and sound different. That is both the beauty and gigantic flaw with Gibson guitars.

Though I will add that even at their largest, Gibson necks are not the "baseball bat" necks. I don't know why so many people get this confused. It is the Fender Telecasters from the early 50s that had those "baseball bat" necks. Gibson necks, even the early ones, have always been slimmer than that.
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#10
Quote by MrFlibble
There is no such thing as an exact neck size when it comes to Gibson. Their necks are first shaped by machine but then finished off by hand, so each one is slightly different. in fact, they can vary a lot. I've played '50s' necks that were thinner than most 60s and '60s' ones that were thicker than most 50s.

This is the main reason why you should never buy a Gibson base don its spec and you should never buy one online. Go to a shop, play some. When you find one that feels right to your hand, buy that one, right there. You can pick up four of the exact same model of Gibson and they will all feel and sound different. That is both the beauty and gigantic flaw with Gibson guitars.

Though I will add that even at their largest, Gibson necks are not the "baseball bat" necks. I don't know why so many people get this confused. It is the Fender Telecasters from the early 50s that had those "baseball bat" necks. Gibson necks, even the early ones, have always been slimmer than that.

Explains why my Tele has a huge neck. My Lp has a thin 60's and the tele is really fat, it's nice though.
#11
This should gives you a perspective of them but as said before. Gibson has been quite inconsistent with the neck profiles over the year so the drawing is not entirely correct to 100%.
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#12
I think inconsistency is good. Yeah it means you get some bad ones but it also means there can be some really great ones. Which is why buying genuine 50s pafs is generally a bad idea.
#13
Quote by WholeLottaIzzy
I think inconsistency is good. Yeah it means you get some bad ones but it also means there can be some really great ones. Which is why buying genuine 50s pafs is generally a bad idea.


I don't agree. There should always be a ****ing high standard. If that standard is then achieved and then some by some guitars, great. But if it means you have great guitars and shit guitars and you buy one, get it home or because of location are forced to buy online and it turns out to have shitty frets, really muddy tone, crappy binding and can't stay in tune for shit, that's a massive failure in my eyes, a waste of resources, money and damaging to a brand.

I'd make sure there was a certain high standard and always be looking to beat it because there shouldn't be a broad spectrum of quality on a single line of guitars. It should be great, then amazing. Not amazing or piss poor.

But, I haven't actually played many bad Gibsons.
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#14
Yes of course. Inconsistency doesn't mean no standards. Well, to a point I guess. But I mean, it'd be good to have a high standard but then because of the work done by hand things will vary. Quality control standards need to be very high but what I'm getting at is there should be more variation in the guitars like there were in the 50s. It shouldn't be x number of winds on the pickup. It should be roughly amount. You see where I'm coming? The build quality should still be as good as it can be.
#15
Quote by WholeLottaIzzy
Yes of course. Inconsistency doesn't mean no standards. Well, to a point I guess. But I mean, it'd be good to have a high standard but then because of the work done by hand things will vary. Quality control standards need to be very high but what I'm getting at is there should be more variation in the guitars like there were in the 50s. It shouldn't be x number of winds on the pickup. It should be roughly amount. You see where I'm coming? The build quality should still be as good as it can be.


Guitars should have their "quirks" and "personalities" instead of just being CNC'd clones, right?
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#16
You need to stop thinking of quality and specification as the same thing. A Gibson neck may vary from the spec; that does not mean it is a bad guitar. What makes a shit neck for one person can be the perfect neck for another. Everybody has different hands.
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#17
I didn't say that they were the same thing. I said the quality control should still be high but should allow for variations.
#18
WholelottaIzzy is saying if they were truely 50's spec, they wouldnt be so precise. We only had so much tech to use in the 50's.
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#19
Yup. Technology is great but I think it is also restrictive as far as creativity goes at least when trying to replicate a 50s.
#20
I was more responding to Mephaphil. Tits McGee has it more or less right.

As it so happens, at least as far as Gibson go, there is a lot of variation in aspects other than just the neck profile. Each coil of their pickups (and the new Epiphone ProBuckers, I believe) are only wound to within -/+15% of their stated spec, to encourage the mismacted coil tone of the 50s pickups. Checking output on Burstbuckers is a real pain because you can buy a #1 that reads hotter than a #3, quite easily. Their pots also seem to be made within tolerances of -/+10%, too, rather than the -/+5% which the 'top' pot brands use. And, obviously, all the woods used can vary hugely in weight and resonance.

Really, it's quite cheap. They keep quality control tight on the core construction, and all the fret and nut work is done with PLEK systems now, of course, but when it comes to winding pickups and initially choosing wood they can half-arse it and write it off as being vintage-correct to have stuff be random. But well, that is both their curse and their charm.
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Last edited by MrFlibble at Feb 18, 2013,
#21
So the same pickup can differ by 30%?! That seems a hell of a difference.
Gear:

Gibson 2005 Les Paul Standard
Fender Road Worn Strat w/ Noiseless pickups
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Marshall Vintage Modern 2266
Marshall 1960A cab (Dave Hill from Slade's old cab)
Ibanez TS9DX
EHX Little Big Muff
Freshman Acoustic
#22
In my opinion the 50's have a better overall beefy sound than profile. I dont like Les pauls myself but if was to get one it would be 50's neck. Fits better in the hand. I dont have to force myself like i would on a 60's. Thinner necks make you work harder in my opinion. (could be the artritus but hey)
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#23
Quote by MrFlibble
I was more responding to Mephaphil. Tits McGee has it more or less right.

As it so happens, at least as far as Gibson go, there is a lot of variation in aspects other than just the neck profile. Each coil of their pickups (and the new Epiphone ProBuckers, I believe) are only wound to within -/+15% of their stated spec, to encourage the mismacted coil tone of the 50s pickups. Checking output on Burstbuckers is a real pain because you can buy a #1 that reads hotter than a #3, quite easily. Their pots also seem to be made within tolerances of -/+10%, too, rather than the -/+5% which the 'top' pot brands use. And, obviously, all the woods used can vary hugely in weight and resonance.

Really, it's quite cheap. They keep quality control tight on the core construction, and all the fret and nut work is done with PLEK systems now, of course, but when it comes to winding pickups and initially choosing wood they can half-arse it and write it off as being vintage-correct to have stuff be random. But well, that is both their curse and their charm.


I've never seen a pot (in a guitar at least) that's got a tolerance of +/- 5%. Almost everyone is using +/-20% Alpha or CTS, with some using +/-10% CTS or Bourns. 5% pots are stupid expensive, and kinda pointless, TBH. Most "premium" pots just over spec the resistance so that even with the variance, you'll never have something rated below the value you want.
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#24
Quote by bburritt1
In my opinion the 50's have a better overall beefy sound than profile. I dont like Les pauls myself but if was to get one it would be 50's neck. Fits better in the hand. I dont have to force myself like i would on a 60's. Thinner necks make you work harder in my opinion. (could be the artritus but hey)


If you can tell the difference between a 50s and 60s neck in a blind test, you've got the greatest ears known to man. They've done this over on MLP and no one can ever guess which is which reliably.
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#25
Quote by hminh87
This should gives you a perspective of them but as said before. Gibson has been quite inconsistent with the neck profiles over the year so the drawing is not entirely correct to 100%.

this is a good general idea, but like said, they all vary.

i've had 60s necks with more of a "D" profile feel than this shows.
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#26
Quote by gregs1020
this is a good general idea, but like said, they all vary.

i've had 60s necks with more of a "D" profile feel than this shows.


Yea, your old R0 definitely has more shoulder than that would indicate.
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#27
Quote by mmolteratx
Yea, your old R0 definitely has more shoulder than that would indicate.

exactly the one i was thinking of. my 03 standard was close to that as well but the R0 felt more D like than the 03.
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#28
Quote by ProphetToJables
So the same pickup can differ by 30%?! That seems a hell of a difference.
Sort of. The coils can differ by that much, in theory. But finding a pickup that has that much of a difference between coils would be very rare and the actual tone difference between complete humbuckers is smaller than the differences between coils.

But well, this is what makes 50s guitars sound so good/bad. They didn't have tightly controlled pickup production and they didn't use different neck and bridge models. They wound every pickup in the same way, just kept it going until the coil looked full and that was it. The 'same' pickup in both positions, random winding everywhere. The idea of making pickups to a very strict specification and having different winds for different positions didn't really start until the late 70s and only took off in the late 80s.
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#29
Quote by MrFlibble
You need to stop thinking of quality and specification as the same thing. A Gibson neck may vary from the spec; that does not mean it is a bad guitar. What makes a shit neck for one person can be the perfect neck for another. Everybody has different hands.

Thats what makes gibsons cool....they vary so much. so you play alot until you find one thats perfect. The problem is ive played 2 perfect ones while i didnt have the money
#30
Quote by mmolteratx
If you can tell the difference between a 50s and 60s neck in a blind test, you've got the greatest ears known to man. They've done this over on MLP and no one can ever guess which is which reliably.

Sad thing is i have and i can. To me its night and day.

But the drunk guy in the front row wont care. Its all about the player.
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