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发表于 2009-3-11 18:44:24
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学习了。不过瓷片，油泡纸，其他电解电容是材质不同，音色自然不同，不是牌子。
请大家看看这篇关于GIBSON的PAF的文章。我想会对想改GISBO的朋友有一定帮助的。
The PAF legend was born during the recording sessions of amazingsongs by Jimmy Page and his PAF equipped 1959 Les Paul, by the bluesbased tones of Mike Bloomfield and Eric Clapton and their Les Paulguitars, by the blazing guitar leads of Eddie Van Halen and his rewoundPAF in his parts guitar, by the blues-based rock of Billy Gibbons of ZZTop and his Pearly Gates flametop with PAFs, as well as other musicartists. The PAF story has a life of it's own. Some of the storiesabout PAFs are true, some myth and some created from outright poorconclusions. Not all original PAFs are made the same. Here's part 1 ofthe PAF story:
The HistoryBy the mid-1950s, Gibson wanted to counter the latest electricguitars introduced by competitors and especially those by Fender. LeoFender had built a company from nothing in the mid-1940s to asubstantial factor in the solid-body guitar market. Gibson believedthey could beat Fender and other rivals for market share by developinga low-noise pickup. Players loved the sound of Gibson's P-90 andFender's single-coil pickups, but they also put up with the 60-cyclehum (noise) inherent in their respective designs.
Gibson's management assigned this important task to one oftheir engineers, the late Seth Lover. Seth's subsequent design andpatent changed guitar playing and music recording history. Let's leavethe heavy technical discussion for another article and understand thebasic design: Seth connected two single coil pickups in series.However, he connected the coils out-of-phase electrically andmagnetically. Thus, the signal is passes through the pickup minus muchof the noise or hum. That is how the pickup Seth designed came to beknown as the humbucker.
Gibson Humbucker Pickup Patent
Gibson PAF Decal
Patent Number Decal
Double Cream PAF
As for wiring, Gibson used a braided shield wire for connectionto the control pot. The pickup bobbins were wound with #42 (plainenamel) wire. The bobbin wire appears purple versus later versions thatappear reddish. Gibson eventually switched to polyurethane coated wirearound 1963. The capacitance of the coating is determined by thicknessand material composition, and this influences the sound of the pickup.When coatings change, the sound signature of the pickup can change.
The amount of wire (and coating) wound on each bobbindetermines the DC resistance and other factors, including soundcharacteristics. When the bobbins are wound with more than a nominalamount of wire, the more power they exhibit, thereby sounding fatter inthe midrange with less treble. The resonant peak of the pickup changesas more or less wire is used. Due to human intervention and thewide-tolerance of the winding machines and the test equipment used byGibson from 1956-1961, PAF pickups during these years usually measurebetween 7.5 - 9.0 thousand ohms (K ohms). I have measured an original,unaltered 1960 PAF in the neck position of an ES-335 guitar at 10.0 Kohms! After 1961, almost all PAF and patent number decal pickups seemto measure 7.5 K ohms +/- .25 K.
PAF Magnet and Wiring
Lindy said that many of the original PAF pickups from 1956-1960sound different depending on the magnet and the amount of wound wire.His preference is for the PAFs that used an Alnico 4 magnet, withapproximately 8.0 K ohms. He said they sound a bit more robust with abetter defined high-end. So Lindy uses the Alnico 4 in his version ofthe PAF humbucker. Lindy admits that theories regarding degraded wirecoatings and micro-cracks in the wire of original PAFs have beendiscussed. However, these ideas have not been fully quantified as tothe effect on the sound signature of original PAFs versus PAF-typepickups made today.
Lindy stated that the 1961-1963 PAF and the 1963-1975 patentnumber decal pickups are very consistent in sound and resistance at 7.5K ohms nominally. They have the smaller Alnico 5 magnet and some havedifferent bobbin wire. They sound different when compared to early PAFswith more high-end and less warmth, especially in the mid-range.Although some players prefer the sound of the later patent numberhumbuckers, including Michael Schenker of UFO and MSG. Michael's 1971Medallion and early 1975 Flying V guitars included these patent numberpickups as standard equipment originally.
Another interesting fact Lindy mentioned was that when hemeasured original PAFs, many times, each side of the pickup'sdouble-coils exhibit a different value due to the manufacturing issuesmentioned previously. For example, one side might read 3.5 K ohms andthe other 4.5 K ohms. He said this often contributes to better sound,not worse. With slightly mismatched coils, certain frequencies arecancelled and others are phase-shifted. This results in a pleasingsound according to Lindy. Since Jimmy Page and Billy Gibbons won't letyou tear apart their pickups for analysis, we can only wonder if thesehistorically significant guitars have mismatched PAFs. This is gettinginteresting.
Lindy believes so strongly in the mismatched coils idea thathe created a new pickup called the UNBUCKER. He said this design wasdeveloped because of the lack of clear high end on the wound strings ofmost side-by-side two coil pickups. The sound from a humbucking pickupis created by string vibration being sensed in two places (two coils)rather than one. He says the UNBUCKER creates a humbucker that looksnormal but sounds brighter on the wound strings.
The other point Lindy mentioned concerns the pickup'sefficiency. If a pickup design is efficient, it will capture most ofthe frequencies the guitar is producing and be loud. The trick for allpickup designers is to make an efficient pickup with a pleasingfrequency spectrum.
Zebra PAF
2) Higher resistance PAFs sound better - Not necessarily. Otherfactors affect the sound, including capacitance, inductance and pickupefficiency. Also, higher resistance pickups tend to have lower highfrequency response.
3) PAFs sound better because the magnets have weakened - Guitarmagazines articles in the past have reported that the ageing of themagnets over 40 years has changed them and produced a better soundingPAF. However, magnet manufacturers report that these Alnico magnetsonly lose 0.2 - 2.0 % of their strength over 100 years. It's notweakened magnets. Beck, Clapton, Page, Gibbons and the other PAF guitarplayers made a bunch of great music with these instruments in the late1960s when the pickups were only 10 years old. If the ageing story madesense, 1970s Gibson humbucker pickups should sound wonderful with 20+years of ageing, but they still exhibit less warmth with more high-endthan PAFs.
Just buying a PAF won't ensure you sound like Jimmy Page, EddieVan Halen or Billy Gibbons. Other factors play a part, including theaforementioned players great talent. Also, the amplifier, string gauge,action set-up and the resonance of a particular guitar also factor intothe equation.
Seth Lover's humbucker pickup is an efficient and beautifuldesign. Yes, some of the wiring and coatings are made different todayand don't replicate the processes of the 1950s. Still, I think theleaders of the replacement pickup market, including Lindy Fralin,Seymour Duncan, Tom Holmes and others make great PAF-like pickups thatprobably get you 80-90% of the sound of the original PAF for 10% orless of the cost of a vintage pickup. However, there will always beindividuals that will pay for the real PAF because they want the thingeveryone is copying. You decide which pickup fits your needs andbudget.
In Part 2 of the PAF Story, we will discuss how pots andcapacitors change the sound of your pickups. How your sound changes byremoving the pickup cover. Also, how the set-up (action and pickupheight) changes the tone. We will also discuss the T-Top patent numberpickups that followed the PAFs. Stay tuned!
Thanks to Lindy for his help with the article. Please visit his website at:http://www.fralinpickups.com/ |
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发表于 2009-3-11 17:55:20
