withthc escribió:a ver soy inspector fiscal , y te aseguro que muy bueno!!
Ahora lo entiendo todo
Ego te absolvo
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withthc escribió:por ahí dicen....
todas tienen unas características y un sonido determinado.
leete el articulo que me has recomendado...
Me dejas de una pieza:
Pregunta:
"I know what PAF is and where it stands in the chronology and evolution of humbuckers, but when someone says that a pickup has the "PAF characteristics", what are those aspects of character that identify a PAF as unique from other humbuckers?"
Respuestas:
"I have five of them, and they all sound different."
"I know folks who have played literally dozens of sets of PAFs and they agree that the sound varies from set to set. "
"So there really isn't a characteristic PAF sound..and it means very little when someone says they are seeking such, or that their pickup offers such."
Y en el audio que te he mandado lo ves claro.
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Paco escribió:Pregunta:
"I know what PAF is and where it stands in the chronology and evolution of humbuckers, but when someone says that a pickup has the "PAF characteristics", what are those aspects of character that identify a PAF as unique from other humbuckers?"
Respuestas:
"I have five of them, and they all sound different."
"I know folks who have played literally dozens of sets of PAFs and they agree that the sound varies from set to set. "
"So there really isn't a characteristic PAF sound..and it means very little when someone says they are seeking such, or that their pickup offers such."
Y en el audio que te he mandado lo ves claro.
son dos hojas en las que se dicen muchas cosas, no sólo lo que ati te interesa .....
respectoa los audios.... si te crees que me voy a creer todo lo que se publica.... la inocencia la perdí hace tiempo.
afortunadamente he podido escuchar pafs originales...
y se muy bien como es el sonido.
#234 ¿Sabes que algunas PAF iban con Alnico 2 y otras iban con Alnico 5? No sonaban igual todas.
Sacado del libro "Keeping the Flame Alive" de Walter Carter.
Whether it was rivalry between plants or increased market awareness, the Nashville plant jumped into the reissue action in 1980. By this time, one of the most glaring deficiencies of new Les Pauls (compared to the originals) was the humbucking pickup. In preparation for its first attempt at a reissue, Gibson assigned engineer Tim Shaw the job of designing a reissue of the original Patent-Applied-For humbucking pickupwithin certain restrictions. This was 1980 and Norlin was already feeling the pinch, Shaw said, referring to Gibson's long decline through the 1970s and early '80s. We weren't allowed to do much retooling. We redid the bobbin because it was worn out. We got some old bobbins and put the square hole back in. We did it without the T-hole, which stood for Treble.
To replicate the magnets, Shaw gathered up magnets from original PAFs and sent them to a lab to be analyzed. Most were Alnico 2's, he said, but some were 5's. In the process of making an Alnico 5, they stick a magnet in a huge coil for orientation, but an unoriented 5 sounds a lot like a 2. They started with Alinco 2 and then switched to Alnico 5.
Shaw discovered that the original magnets were a little thicker than 1980 production magnets. Magnetic strength is largely a function of the area of the polarized face; increasing the face size gives you more power, he explained. So he specified the thicker magnet for the new PAF.
Wiring on the originals was #42 gauge, which Gibson still used. However, the original wire had an enamel coating and the current wire had a polyurethane coat, which also was of a different thickness or buildup than that of the original, which affected capacitance. Norlin refused to go the extra mile-or extra buck, as it were. Enamel-coated wire cost a dollar more per pound than polycoated. Shaw could change the spec on the buildup without additional expense, so the thickness of the coating was the same as on the original wire, but he was forced to use the poly coat. The difference is easy to see: purple wire on the originals, orange on the reissues.
Shaw later found a spec for the number of turns on a spec sheet for a 1957 ES-175. It specified 5,000 turns because a P-90 had 10,000 turns and they cut it in half, Shaw said. In reality, however, originals had anywhere from 5,000 to 6,000 turns, depending on how tight the coil was wound. Shaw later met Seth Lover, who designed and patented Gibson's humbucker, at a NAMM show. Lover laughed when asked about a spec for windings, and he told Shaw, We wound them until they were full.
The spec for resistance was even less exact, Shaw said. The old ohmeter was graduated in increments of .5 (500 ohms). Anywhere between 3.5 and 4 on the meter (3,500 to 4,000 ohms) met the spec. Consequently, Shaw pointed out, there is no such thing as an exact reissue or replica of the 1959 PAF pickup. There can only be a replica of one original PAF, or an average PAF. As Gibson would find out in the early 1990s, the same could be said about the entire guitar.
Shaw's PAF reissue debuted on Gibson's new Nashville-made Les Paul Heritage 80 in 1980. Compared to anything Gibson had previously made (which is to say, compared to nothing), it was an excellent reissue of a sunburst Les Paul Standard. It had a nice top, thin binding in the cutaway, nickel-plated parts, more accurate sunburst finish and smaller headstock, but the body shape, body size and three-piece neck, among other details, were just regular production. It appears that Gibson still didn't understand the demand for an accurate reissue, because Gibson accompanied the Heritage 80 with fancier versions: the Heritage 80 Elite, with an ebony fingerboard that had no relevance to the reissue market (although it did have a one-piece neck) and the Heritage 80 Award, with gold plated hardware that also had no relevance to the reissue market.
Sacado del libro "Keeping the Flame Alive" de Walter Carter.
Whether it was rivalry between plants or increased market awareness, the Nashville plant jumped into the reissue action in 1980. By this time, one of the most glaring deficiencies of new Les Pauls (compared to the originals) was the humbucking pickup. In preparation for its first attempt at a reissue, Gibson assigned engineer Tim Shaw the job of designing a reissue of the original Patent-Applied-For humbucking pickupwithin certain restrictions. This was 1980 and Norlin was already feeling the pinch, Shaw said, referring to Gibson's long decline through the 1970s and early '80s. We weren't allowed to do much retooling. We redid the bobbin because it was worn out. We got some old bobbins and put the square hole back in. We did it without the T-hole, which stood for Treble.
To replicate the magnets, Shaw gathered up magnets from original PAFs and sent them to a lab to be analyzed. Most were Alnico 2's, he said, but some were 5's. In the process of making an Alnico 5, they stick a magnet in a huge coil for orientation, but an unoriented 5 sounds a lot like a 2. They started with Alinco 2 and then switched to Alnico 5.
Shaw discovered that the original magnets were a little thicker than 1980 production magnets. Magnetic strength is largely a function of the area of the polarized face; increasing the face size gives you more power, he explained. So he specified the thicker magnet for the new PAF.
Wiring on the originals was #42 gauge, which Gibson still used. However, the original wire had an enamel coating and the current wire had a polyurethane coat, which also was of a different thickness or buildup than that of the original, which affected capacitance. Norlin refused to go the extra mile-or extra buck, as it were. Enamel-coated wire cost a dollar more per pound than polycoated. Shaw could change the spec on the buildup without additional expense, so the thickness of the coating was the same as on the original wire, but he was forced to use the poly coat. The difference is easy to see: purple wire on the originals, orange on the reissues.
Shaw later found a spec for the number of turns on a spec sheet for a 1957 ES-175. It specified 5,000 turns because a P-90 had 10,000 turns and they cut it in half, Shaw said. In reality, however, originals had anywhere from 5,000 to 6,000 turns, depending on how tight the coil was wound. Shaw later met Seth Lover, who designed and patented Gibson's humbucker, at a NAMM show. Lover laughed when asked about a spec for windings, and he told Shaw, We wound them until they were full.
The spec for resistance was even less exact, Shaw said. The old ohmeter was graduated in increments of .5 (500 ohms). Anywhere between 3.5 and 4 on the meter (3,500 to 4,000 ohms) met the spec. Consequently, Shaw pointed out, there is no such thing as an exact reissue or replica of the 1959 PAF pickup. There can only be a replica of one original PAF, or an average PAF. As Gibson would find out in the early 1990s, the same could be said about the entire guitar.
Shaw's PAF reissue debuted on Gibson's new Nashville-made Les Paul Heritage 80 in 1980. Compared to anything Gibson had previously made (which is to say, compared to nothing), it was an excellent reissue of a sunburst Les Paul Standard. It had a nice top, thin binding in the cutaway, nickel-plated parts, more accurate sunburst finish and smaller headstock, but the body shape, body size and three-piece neck, among other details, were just regular production. It appears that Gibson still didn't understand the demand for an accurate reissue, because Gibson accompanied the Heritage 80 with fancier versions: the Heritage 80 Elite, with an ebony fingerboard that had no relevance to the reissue market (although it did have a one-piece neck) and the Heritage 80 Award, with gold plated hardware that also had no relevance to the reissue market.
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lo siento wifi.
Se que estas como un niño al que le acaban de decir que los reyes majos no existen.
Gibson es solo una marca. Se puede comprar y vender y el propietario puede fabricar bajo la marca lo que de la gana.
Gibson compro Epiphone y fabrica bajo ella lo que le conviene. De echo se le ocurrio convertirla en copias baratas de su marca principal y asi ko hizo.
Fender compro Squier que era una marca de cuerdas y mira ahora.
No descarto yo que Tokai la compre y se ponga a hacer buenas Les Paul
Se que estas como un niño al que le acaban de decir que los reyes majos no existen.
Gibson es solo una marca. Se puede comprar y vender y el propietario puede fabricar bajo la marca lo que de la gana.
Gibson compro Epiphone y fabrica bajo ella lo que le conviene. De echo se le ocurrio convertirla en copias baratas de su marca principal y asi ko hizo.
Fender compro Squier que era una marca de cuerdas y mira ahora.
No descarto yo que Tokai la compre y se ponga a hacer buenas Les Paul
Luisito escribió:No descarto yo que Tokai la compre y se ponga a hacer buenas Les Paul
Estoy bastante seguro que Gibson va a subir la calidad con la nueva directiva.
Es lo que todo el mundo está pidiendo. Bueno... todos menos withthc.
A pesar de la bancarrota, la venta de guitarras iba bien, el problema ha sido comprar empresas raras por parte del CEO Henry Juszkiewicz.
Cuando a mediados de los 80 la clidad de Gibson estaba bajando peligrosamente se produjo una situación similar y Henry tomó las riendas de la empresa. Subió los estandares de calidad. Pero ha pasado mucho tiempo, ha vuelto a bajar y volverán a hacer lo mismo.
Yo tengo bastante ilusión por ver qué pasa.
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Es logico que asi sea.
La matriz esta en quiebra y necesita liquidar los activos.
Pero esto ya le ha pasado a muchas marcas.
Hay muy pocas que sigan en manos de la familia fundadora como Tokai.
Fender mismamente ha cambiado de manos en mumerosas ocasiones.
El wifi ogual se cree que los propietarios son la familua de Leo y que se siguen fabricando en el pequeño taller de Fullerton jajaja
La matriz esta en quiebra y necesita liquidar los activos.
Pero esto ya le ha pasado a muchas marcas.
Hay muy pocas que sigan en manos de la familia fundadora como Tokai.
Fender mismamente ha cambiado de manos en mumerosas ocasiones.
El wifi ogual se cree que los propietarios son la familua de Leo y que se siguen fabricando en el pequeño taller de Fullerton jajaja
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