Gibson

Per i primi anni della loro produzione, i famosi humbuckers Gibson ”Patent Applied For” furono avvolti con macchine imprecise, con conseguente produzione di pickup con uscita e timbro leggermente diversi. Questi sono stati – e restano oggi – molto desiderabili per i musicisti che vogliono combinare ed esplorare una gamma completa di possibilità tonali. Il ’57 Classic Humbucker Vintage Style è il risultato dello sforzo di Gibson di catturare e ricreare questa caratteristica rinomata. Introdotto nel 1992, il Classic ’57 fornisce un suono caldo e pieno con una risposta equilibrata, con quel classico crunch del Gibson humbucker PAF. Sono fatti con le esatte specifiche dei PAFS originali, tra cui magneti Alnico II, espansioni polari nichelate, distanziali in acero, e conduttori intrecciati vintage-style. I pickup sono riempiti di cera per rimuovere tutta l’aria interna e ogni possibilità di feedback microfonico.

As rock music developed and grew in popularity, amplifiers became larger and featured higher wattage, and the music became louder and more powerful sounding as a result. This led to a call for a more versatile pickup that could split coils through a push/pull knob and prevent microphonic feedback from occurring when the volume was turned up to maximum levels. Gibson answered this call with the introduction of the revolutionary 490T and 490R pickups (”T” for treble and ”R” for rhythm), which have the traditional characteristics of the original Patent Applied For pickups, but with two key modifications. First, a four-conductor wiring scheme allows the 490s to be connected to any push/pull knob, which lets players split the coils and increase versatility. Gibson also introduced wax potting, which does away with any air space, minimizing microphonic feedback. The 490R is a humbucker with the tonal characteristics of an original Patent Applied For, with a slight increase in upper midrange response. The 490T bridge pickup is calibrated to match the 490R, with pole pieces aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.

Per i primi anni della loro produzione, i famosi humbuckers Gibson ”Patent Applied For” furono avvolti con macchine imprecise, con conseguente produzione di pickup con uscita e timbro leggermente diversi. Questi sono stati – e restano oggi – molto desiderabili per i musicisti che vogliono combinare ed esplorare una gamma completa di possibilità tonali. Il ’57 Classic Humbucker Vintage Style è il risultato dello sforzo di Gibson di catturare e ricreare questa caratteristica rinomata. Introdotto nel 1992, il Classic ’57 fornisce un suono caldo e pieno con una risposta equilibrata, con quel classico crunch del Gibson humbucker PAF. Sono fatti con le esatte specifiche dei PAFS originali, tra cui magneti Alnico II, espansioni polari nichelate, distanziali in acero, e conduttori intrecciati vintage-style. I pickup sono riempiti di cera per rimuovere tutta l’aria interna e ogni possibilità di feedback microfonico.

First introduced in the early 1950s, Gibson’s legendary P-90 single coil pickup produced a raw powerful tone that helped define the blues and rock and roll in their formative years. Today, the P-90’s traditional combination of high output and brilliant tone is still considered a favorite among many top musicians. Known by the familiar nickname, the ”Soapbar,” the P-90 still cuts through any type of music, all while displaying amazing tonal sensitivity for everything from blues and rock to mellow jazz riffs. It’s perfect as a vintage replacement and features vintage, braided two-conductor wiring. It’s also fully wax potted to eliminate any chance of unwanted microphonic feedback.

As rock music developed and grew in popularity, amplifiers became larger and featured higher wattage, and the music became louder and more powerful sounding as a result. This led to a call for a more versatile pickup that could split coils through a push/pull knob and prevent microphonic feedback from occurring when the volume was turned up to maximum levels. Gibson answered this call with the introduction of the revolutionary 490T and 490R pickups (”T” for treble and ”R” for rhythm), which have the traditional characteristics of the original Patent Applied For pickups, but with two key modifications. First, a four-conductor wiring scheme allows the 490s to be connected to any push/pull knob, which lets players split the coils and increase versatility. Gibson also introduced wax potting, which does away with any air space, minimizing microphonic feedback. The 490R is a humbucker with the tonal characteristics of an original Patent Applied For, with a slight increase in upper midrange response. The 490T bridge pickup is calibrated to match the 490R, with pole pieces aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.

As rock music developed and grew in popularity, amplifiers became larger and featured higher wattage, and the music became louder and more powerful sounding as a result. This led to a call for a more versatile pickup that could split coils through a push/pull knob and prevent microphonic feedback from occurring when the volume was turned up to maximum levels. Gibson answered this call with the introduction of the revolutionary 490T and 490R pickups (”T” for treble and ”R” for rhythm), which have the traditional characteristics of the original Patent Applied For pickups, but with two key modifications. First, a four-conductor wiring scheme allows the 490s to be connected to any push/pull knob, which lets players split the coils and increase versatility. Gibson also introduced wax potting, which does away with any air space, minimizing microphonic feedback. The 490R is a humbucker with the tonal characteristics of an original Patent Applied For, with a slight increase in upper midrange response. The 490T bridge pickup is calibrated to match the 490R, with pole pieces aligned a little further apart to accommodate the spacing of the strings at the bridge, which is different than the spacing of the strings at the neck.