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Gibson vintage guitars history and collecting. Private vintage guitar collector. Pictures, history for gibson vintage guitars. Contact the vintage guitar info guy. P two pickup Gibsons. P one pickup Gibsons.

Option on J, J, SJ: Standard on most models: Init changed to a "compensated" style unit with "stairsteps" for each string. Right: tunematic bridge "no wire" and stop tailpiece on a goldtop Les Paul note the partial shown white covered P "soapbar" pickup at the bottom of the picture. Tunematic bridges started showing up on many Gibson models in Used on some models ES and ES until This tailpiece was used until the 's on some models including the SG Junior.

This was an important change on wrap around tailpieces, because it stopped the wrap-around from leaning forward and cracking the body wood often seen on Les Paul Juniors and Specials. Many electric archtop models also converted to the tunematic bridge. The wire goes over the six saddle screw heads to prevent the saddles from popping out during string changes.

Stop tailpiece now chrome plated too, and replaced on many models like the ES with a trapeze tailpiece. Two early "P.

Dating Gibson P90 Pickups, men dating adivice affiliate program, anime dating and sex game, frauen rumanien kennenlernen. 93 ans. Rencontrez des celibataires en France et dans votre region. November 29, by admin in Uncategorized |/ Feb 15,   After PAF pickups were gone, the patent# pickups were next and used from to Then from to (note overlap) the next Gibson humbucker is known as the "T bucker" or "T top". They are called this because of a "T" that is part of . Check the serial number on the guitar from which the pickups came. If you're harvesting the pickups from an old Gibson guitar, you can validate the authenticity of the guitar and its parts by confirming its serial number with the serial numbers provided by Zachary R. Fjestad's guide (see Resources), adapted from the "11th Edition Blue Book of Guitars.".

Left: Top to bottom: P pickup, Alino pickup, Humbucking pickup, "double white" humbucking pickup with metal cover removed. Right: P pickup top and a P. Two variations, one almost 6" long extending diagonally from the bridge to almost the neck, the other shorter and more conventional looking and mounted at less of an angle.

Both seen on ES model: Finger rest pickup system: First cataloged as a "conversion" pickup. Volume and tone controls and pickup integrated into the pickguard. Available with 1 or 2 pickups.

Also known as the "McCarty" pickup system. Available for acoustic archtops such as the L-7, L-5 and Super Fixed pole P pickup. Non-adjustable pole P pickup, single coil, 6 magnet slugs down center, black "dog ear" pickup cover: P pickup. Same as fixed pole P, except now has adjustable slot-head poles: present "Soapbar" P pickup, same as above, but pickup cover has no "ears": present Alnico V pickup. Looks like a P soapbar pickup, except has "staple" poles with adjusting screws next to the poles.

Used on upper line models: Top: A late "P. Bottom: A mid's "Patent No. Humbucking pickup. One row of 6 adjustable slot-head poles off-center: present. Cover was gold, nickel or after chrome plated. Prior to about mid, have small decal on bottom stating "Patent Applied For".

These are known as "P. Starting in about mid to earlya "Patent No. Most humbucking pickups first year have no decal, and a more squarish stainless steel cover. Also to early P. The internal plastic coil bobbins are usually black plastic, but sometimes they are white this happened mostly in or early You can see the color of the wire bobbins by removing the small underside mounting screw instead of removing the pickup cover.

More information and pictures of PAF pickups can be seen here. The pointed pickguard used on most Gibson flattops from to the 's. Note this Southern Jumbo's "double parallelagram" fingerboard inlays and the "belly up" style bridge opposed to Martin's bridges which had a belly down towards the endpin.

Most Gibson pickguards prior to the mid's were made from celluloid. This material can deteriote with time the tortoise colored pickguards especially exhibit this trait. Flattop pickguards: from the 's toGibson flattop pickguards were usually "teardrop" in shaped. But in earlymost models changed to a "pointed" pickguard that followed the shape of the guitar except for the point. The J was an exception to this rule; it's pickguard stayed the same shape, but the material and the designed changed.

Prior tothe J has an engraved celluloid pickguard. Starting inthis changed to an injection molded styrene pickguard that was cheaper to make. The edges were cut beveled to make them look like they had binding. Inthe bevel changed from being very wide and flat, to a narrow and steeper cut.

Top row: on the left is the first Gibson electric knob as used on ES model guitars from to early no numbers. Next to it is the ugliest pre Gibson knob, known as the "amp" knob, used from late to the mid's but not on all models. Middle row, left to right: Tall numbered gold knob, used from to"speed" knob as used from to"bonnet" knob as used from to"metal top bonnet" knob or "reflector" knob as used from mid to mids on many, but not all models.

Bottom row, left to right: switch tips used. The left switch tip was used on multiple pickup models from after WW2 to about This knob is bakelite and very amber in color. Next to it is the version where the switch tip changed to a plastic material that stayed white, and had a visible seam. Bottom row black knobs, left to right: depending on the color of the guitar, some models starting in the early 's used black versions of the above gold knobs.

These correspond to the same years as the above gold versions. Smooth rounded top, bumps around top edge, some with arrow across top, 1 black and 1 brown: Smooth top, 8 sided, arrow across top, 1 black and 1 brown: Radio knob. Looks like a hat box, flared base, back painted gold or black, clear with numbers 1 to 10 visible thru knob: to mid Bonnet knob with metal cap "reflector" knobs : Used from mid to mids.

Similar to bonnet knob but now has metal cap with "Volume" or "Tone" printed in black on the metal cap. There are two styles of this knob. First was used from mid to the end ofand have a shallow post hole as viewed from the side. The and later relector knob has a deeper post hole the bottom of the post hole comes much closer to the metal cap.

Jan 15,   Gibson debuted their "Electric Spanish" line of guitars in the thirties as a way for guitarists to be heard, particularly in an ensemble format. Some of these early instruments, like the ES, used built-in, straight-bar, "Charlie Christian" pickups. Walt Fuller was the . Switch Tips: on guitars with two pickups and a 3-way selector switch, Gibson used an amber-colored bakelite switch tip during the 's. Starting in mid, they switched to a much whiter and slightly rounder tip plastic switch tip. Left: to bonnet knob. Development. In the mids Gibson looked to create a new guitar pickup different from existing popular single coil designs. Gibson had already developed the Charlie Christian pickup and P in the s and 40s; however, these designs-like competitor Fender's single-coil pickups-were fraught with inherent cycle hum sound interference. Engineer and Gibson employee Seth Lover spent Manufacturer: Gibson Guitar Corporation.

Also the reflector on these knobs can be silver or gold. Guitars with nickel or chrome hardware should have silver caps.

The only time I might use the standard cast plastic bobbin on Ps would be to restore and old Gibson P that had bobbin rot beyond repair. Sometime around '98 or '99 I would have started to write model names on the bottom of pickups and dating them- still no signature unless asked for it. Jun 19,   Honestly there is quite a difference. You can't get the sound you get from the pickups in 50's Juniors and Specials out of 60's P's. I've tried putting 60's P's in before. There is also something very different sounding about the early 50's P's, as well. Much more chimey and blackguard Esquire like in a Gibson kind of way. However, there are some very important things to keep in mind when setting the height of a P The P IS a single-coil pickup, but that coil is way wider and more shallow than on a Strat or Tele style single-coil; the P is also wound with a lot more turns of wire ie: it's a lot fatter and hotter.

Guitars with gold hardware should have gold caps though often the gold does wear off. Barrel knob. Back painted gold or black, clear with numbers 1 to 10 visible thru knob: to present.

Note this knob was used primarily on Les Paul Custom models till the mid 's, when most other models got these knobs. Amp knobs. Black knobs with white numbers 1 to Looks like "blackface" Fender amp knobs: late - mid 's. Some models never got these knobs such as the and later Les Pauls. Used mostly on the hollowbody and semi-hollow models, such as the ES series. Switch Tips: on guitars with two pickups and a 3-way selector switch, Gibson used an amber-colored bakelite switch tip during the 's.

Starting in mid, they switched to a much whiter and slightly rounder tip plastic switch tip. Left: to bonnet knob. Middle: mid to "reflector" knob. Right: to mids "reflector" knob. Metal Hardware. Phillips head screws started to be used at Gibson in the phillips head screw was original patented in Prior toall screws should be slot style.

Prior toall metal hardware is either nickel or gold plated. Starting inall hardware is either chrome or gold plated. Left: "3 on a plate" style Kluson tuners, as used on the lower-line Gibson models. Right: Kluson Deluxe "tulip" tuners on a Les Paul.

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Note this is the "single ring, single line" variety used from to The "single ring" refers to the single ring around the plastic button. The "single line" refers to the single line of vertical text saying "Kluson Deluxe". Note the "inked on" serial number.

During the 's and 's, Gibson used Kluson tuners almost exclusively. There were some exceptions; starting in you could special order Grover tuners instead of Klusons on many mid to upper line models including the Les Paul Custom and J models.

ByGibson starting using tuners with the "Gibson Deluxe" name on them, but these were actually made by Kluson. More info on Kluson tuners can be found here. Again Phillips head screws started to be used at Gibson in the phillips head screw was original patented in Kluson Deluxe Tuner specs models including 3-on-a-plate and "tulip" designs : to early "Kluson Deluxe" in a single vertical line on the ribbed metal tuner cover aka "Single Line".

NO outside hole on the metal cover for the tuner worm shaft. On the bottom side of the tuners stamped into the metal it says " PAT. Tulip plastic tuners knobs have a single ring around them. The exterior "PAT. Still no outside hole in the metal tuner cover for the tuner worm shaft. The exterior lubrication holes can be either small or large.

There is still now an outside hole in the metal tuner cover for the tuner worm shaft. These tuners are often called "No Line, Single Ring". Mid to late Single line "Kluson Deluxe" in a single vertical line on the ribbed metal tuner cover. Late to mid Single line "Kluson Deluxe" in a single vertical line on the ribbed metal tuner cover.

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The exterior lubrication holes can be either small or large though most are large hole. Mid to Two plastic rings on the plastic "tulip" tuner knob. These tuners are often called "Single Line, Double Ring". On keystone tuners, the buttons become have a slight green tint to them. These tuners are often called "Double Line, Double Ring".

The base plate for the tuners also has a more rounded look to it with the edges less defined. This happened because the dies that stamped out this part were wearing out. The original Kluson tuners company went out of business in so this style of tuner was not made again until the s when WD Guitar Products bought the Kluson name and reissued these tuners. PegHead Markings other than Serial Numbers "seconds" Gibson often marked inferior quality guitars as "seconds", and sold them at a discount to dealers or employees.

These markings were stamped into the wood on the back of the peghead. A "2" stamp is sometimes seen, designating a "second", which had some cosmetic flaw. If there is a serial number on the back of the peghead, the "2" is usually seen centered above or below it. Also sometimes stamped was "CULL", which is another designation of a second.

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Again, this stamp is seen on the back of the peghead. The worse Gibson reject is the "BGN" stamp, designating that instrument as a "bargin" guitar.

These were only sold to employees at substantial discounts. This stamp is also seen on the back of the peghead.

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BGN instruments weren't acceptable to Gibson as sellable to the public. All second instruments are usually worth less than the same guitar that is not a second given condition as the same.

BGN instruments are worth less than a second instrument because these tend to have some fairly serious cosmetic flaw. A war-time Southern Jumbo that was exported to Canada. This is sometimes stamped on the back of the peghead where a serial number would be on and later Gibsons.

Also it's sometimes seen on the top edge of the peghead. An EStc from the 's, as seen through the bass side "f" hole. Model Body Markings non-Artist models. After WW2, lower-line Gibson vintage instruments did not have a label to designate the model. Instead, Gibson just ink stamped the model number inside on hollow body instruments. If the instrument had "f" holes, this number was ink stamped in the bass side "f" hole on the inside back of the instrument.

If the instrument was a flat top guitar, this number was ink stamped inside the round soundhole on the inside back of the guitar. Gibson Cases Mid to high-end model guitars during the 's and early 's used a black case with a red line around the top edge of the case.

The inside is a deep maroon color. Lower models used black rigid cardboard cases. Aboutmid to high end model started to use a tweed case with a 3 inch wide red "racing stripe" on the tweed. The inside of these cases are also usually a deep maroon. These tweed cases were used up to WW2. Post-WW2Gibson offered 3 different cases. The "low grade" case was an "alligator" softshell case, essentially made of rigid cardboard with a sparse brown lining.

This case also often had a hard thin brown plastic handle that cracked very easily. The "medium grade" case was a wooden case with a smooth brown outside and usually a sparse green lining though different color interiors are seen.

The "best grade" known as the "faultless" case was the "California Girl" case, as it is known. This wooden case has a rich brown outside like a tanned California girland a very plush and rich pink inside. The handle on the medium and high grade cases was leather covered metal. Note some models such as the Les Paul did not have a medium grade case available either got the 'gator case or the Cal Girl case. Though any s era of these three LP models could also have a four latch case.

Most 's Gibson cases had a small 1. This was located on the side of the case by the handle. Note during this period there where three different manufacturers making cases for Gibson, all with the same basic specs, but slightly different shapes Lifton, Geib, Stone.

Geib cases are seen mostly in the early 's, and Lifton cases in the mid to late 's. Stone cases are seen throughout the 's, but not to the extent of the other two manufacturers. The new low-end case was a black softshell with a plush deep red lining.

The medium grade case was dropped entirely and the new high grade case was black on the outside, and yellow on the inside. The black outside changed from smooth to rough during different periods of the 's.

Also the handle changed from a leather covered metal to a hard molded plastic type about The small brass Gibson plaque was still used until the later 's. In the 's, the new high-end case was still a wooden case with a black outside, but a deep red inside. Most 's cases had "Gibson" silkscreened on the outside of the case in white. Also made during the 's is the "protector" case; a huge thing made completely out of molded plastic.

This case was very popular for Les Pauls. A picture of a mid's Les Paul brown case is here. This is not the most desirable of the Les Paul brown cases, as it has a flat top and four latches typically this style of brown case was sold with Les Paul Specials and Juniors.

Starting about mid to latethe brown Les Paul case changed to a five latch model. This is considered the "Sunburst" case even though most models still use the older four latch case. These newer cases have a tag on the inside pick pocket that says "Made in Canada". Also, these cases have a pink interior satin cover that goes over the top of the guitar before closing the case.

And they also have a combination lock on the main exterior latch and a leather handle. There were also some early 's brown reissue cases mostly for Les Pauls and Korina reissues that are starker versions of the Canadian reissue case. Most recently Gibson has copied the original 's Cal Girl case more exactly on their "historic" series reissues. So, whaddayathink? Are Ps right for you? More videos from Premier Guitar. Get our email newsletter! Rig Rundowns Most Recent.

Rig Rundown: Jim Ward.

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Rig Rundown: Mt. Joy's Sam Cooper. Your Pedalboards ! We even buff our plastic pickup covers! Our humbuckers come with clear plastic tape over the top to protect the finish on the pickup cover. We only use high quality lead wires.

If it says Custom on the bottom along with Lollar and the date it could be anything- it may not be in phase with anything else we make and it may not match any specs. If you know the name of who originally purchased the custom item we can usually look the job up and see what the specifications were. Occasionally we get asked questions about pickups for sale on that are supposedly Lollar made. It is rare for people to try to pass off fake, uninstalled pickups for Lollars, but here are a couple photos of horribly made pickups that have Lollar written on the bottom.

More often, a guitar was sold claiming to have Lollars installed and was purchased by someone and resold. The purchaser had been told Lollars were installed and they never verified it. The quality of construction would be quite high, as all of my parts were cut by hand using jigs - everything would be uniform, but nothing would be signed yet unless someone asked me to. After my book came out I started to see a few other manufacturers making Ps using the plan I drew up- vulcanized fiber assembled bobbins.

The only time I might use the standard cast plastic bobbin on Ps would be to restore and old Gibson P that had bobbin rot beyond repair.

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If the pickup in question has a model name that corresponds to something I still make then the specs are the same- same magnets and turn count. If you bought a pickup in and you buy another one today to match with the old pickup, the new pickup will be in phase with the old one- I never changed that.

Also, if you have an old single coil neck pickup like a P and you buy a new bridge pickup, not only will it be in phase but the set will be hum cancelling.

If all else fails and you are still not sure, take a picture of the bottom and send it to info lollarguitars. Over the last decade I have had countless requests for a thin pickup that will mount onto an acoustic archtop that requires no modifications to the guitar. As you may be aware the space between the strings and the top of the guitar is often very small so it requires a very short or thin pickup to fit.

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