I was under the impression that the Lo-Z output was intended to be plugged directly into a mixing console or something similar for recording. If it was my axe, I'd be looking into adding the TPC1 or CAE to make that Hi-Z output a Lo-Z as well, if it's to be used on stage. These circuits are proven to work well with stage rigs, and the LP Recording's circuit is apparently still unknown, but if the guitar's name means anything I would expect the balanced, Lo-Z output to be less than optimal for that purpose. Hence, the other output, which I assume Gibson intended for amplifiers. But I'm not sure that Gibson intended for this guitar to be used outside the studio. No offense, but it's not exactly a looker, if you know what I mean. It looks like the coil tap (or whatever they call it) is a slider switch? Not meant for use on the fly, obviously. Idk anything about the pups, might not be truly tapping coils anyway.
It just occurred to me that the purpose of Jerry's buffers were to address issues created in the signal chain between
the guitar and amp. In a studio, this can be minimized and tailored specifically to each instance, so things like OBELs and buffers aren't quite as vital as they would be in a live setting, where you need flexibility and stability. Or you can just plug the Lo-Z output into your mac or pc based recording rig and forget about all that.